Baskenland 2016 projecten detail by studiereis 2 bira

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PROJECTEN PLANNEN + FOTO’S

storical Archive of the Basque Country. | Metalocus archive, in such a way that the building is not seen as sealed place, private and closed off from the citizen. The interior façade has been designed with a language that tries to establish a formal dialogue with the rest of the buildings of the block, while retaining the contemporary character of the building. This façade

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and garden seeks to project a friendly image to the users of the courtyard, dignifying a typology normally uncared for in the buildings of the Ensanche. In the interior of the building, we have opted for double height ceilings, with visible crossing points that will enrich the relationship between the different uses existing in the building. The planned work areas are

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clear, free of columns and flexible in order to facilitate adaptability to possible functional changes. As much of the program has been developed underground, the use of natural light and ventilation has been maximized, in such a way that the lobbies to access the document vaults or garage, which is 20 metres below ground level, have natural light and ventilation. The nucleus of vertical communications and the nucleus of the lavatories of the building above ground level also have natural light. As a result, most

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of the spaces and areas of circulation are bright and pleasant. The walls of the basement, which occupies the entire plot, have been executed using the hydrofraise technique, allowing them to be terminated before excavation commenced on the rock terrain. This decision meant that the execution times of the basement works were shortened and effect of vibration on

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the adjacent buildings was significantly reduced. Some of the surrounding buildings are almost 100 years old. The primary use of the first three basement levels is that of a document archive, with capacity for 20 linear kilometres of shelving; equipped with an air conditioning system to control temperature and humidity, as well as a fire protection system using mist extinguishing. A highly efficient air conditioning system has been designed which incorporates an enthalpy recovery and free cooling system, taking full advantage of the internal and external conditions to reduce energy consumption. In addition, in the courtyard of the block, a garden has been designed with vegetation around the air intake chiller which will help to cool the air in the hottest months of the year, allowing the system to function in a more efficient way. The energy used for lighting is limited through the use of high-performance equipment and taking advantage of diffused light to illuminate all the areas of movement in the basements and garage, as mentioned above. Despite the depth of 20 metres, the use of light colours and light wells results in theses spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro.

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Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa. Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

Environmental Engineering.- Álvaro Gutierrez-Cabello, Rafael Pérez, Mikel Aguirre, Lorena Muñoz. Lighting.- Álvaro Gutierrez-Cabello, Miguel García, Susaeta iluminación. Public Health Services.- Álvaro Gutierrez-Cabello, Lorena Muñoz. Electrical Engineering.- Álvaro Gutierrez-Cabello, Miguel García. Telecommunications.- Alvaro Gutierrez-Cabello Arce, Estibaliz Lekue, Ignacio Alcázar. Graphic Design.- Natalia González Matrelle, Roberto Fernández de Gamboa, Inés Uribarren Rua. CAD.- José Ramón Rodríguez, Carlos Olmedillas, Virginia Martín, Luis Miguel Escalona, Rebeca Pesquera. Administration.- Sonia López, Blanca Ugarte, Rosa Gutierrez. Site Supervision.- Gonzalo Carro. Construction execution management.- Gabriel Bustillo. Photographer.- Aitor Ortiz. Constructor.- FERROVIAL Agroman SA. Area.- 92.031 ft2. Project dates.- Months: 12. Years: 2007-2008. Project execution dates.- months: 37. Years: 11/2009 – 06/2013. Location.- María de Haro, 3, Bilbao. References METALOCUS: Cruces Hospital General Services Building by ACXT Rehabilitation of Huesca City Archives. Piscina Vizcaya / acxt AIC 104 Social Housing Units in Borinbizkarra. Links of interest: ACXT Arquitectos

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11/09/2014

CarrerasMúgica Gallery by Herreros Architects.

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Gallery [Bilbao] Spain. 3/10/14.

By: metalocus, BELÉN CALLEJO. Categories: Architecture, Exhibitions, Recommendations

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CarrerasMugica Gallery in Bilbao by Estudio Herreros. Photography © Jaime Gartzia.

CarrerasMúgica gallery was founded by Pedro Carreras and Ignacio Mugica. On October 3, CarrerasMúgica will be inaguarated a new space designed by Juan Herreros. With this new gallery located at Heros Street number 2, CarrerasMugica begins a new era. It will be shown by Asier Mendizabal as the exponent of a generation of

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exceptional artists who are working in the Basque Country.

The history of the CarrerasMugica gallery spans more than two decades of the world of contemporary art. Founded by Pedro Carreras and Ignacio Múgica, the gallery has become an active presence at both national and international fairs, such as ARCOmadrid, sp arte, Fiac Paris, Art Cologne, MACO… From its home base in Bilbao, CM recently decided to create a singular new space from which to lead the Basque gallery scene, sculpture in particular, internationally.

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The first exhibit to be inaugurated in this new space will be held this coming October 3. It will be shown by Asier Mendizábal as the exponent of a generation of exceptional artists who are working in the Basque Country and have carried on the Basque sculptural tradition. CarrerasMugica also represents other members of this generation, including Txomin Badiola, Pello Irazu, Itziar Okariz and Xabier Salaberria. Furthermore, the gallery, since it opened its doors in 1996, has worked with Eduardo Chillida and currently represents his heirs. CM additionally shows the work of internationally renowned artists such as Rita McBride, Jessica Stockholder and Richard Serra. With the project that Juan Herreros has carried out for the new gallery located at number 2 Heros Street, next to the Museo Guggenheim Bilbao, CarrerasMugica begins a new era. These installations of nearly 1,000 square metres will allow for a gallery that is bold and open, a new enclave within the artistic and cultural landscape of the city of Bilbao.

Description of the project by Estudio Herreros. The project that Estudio Herreros designed for the art gallery of CarrerasMugica in Bilbao simultaneously makes three commitments: to preserve and revaluate the history and memory of the industrial structure that emerged from the patio of an urban block of the Ensanche; to maintain the architectural neutrality necessary for exhibiting art that will be the true protagonist of the space; and to build an enclave that will extend beyond its activity as a private gallery to become an integral part of the life of the city as a meeting place for all those who are interested in contemporary culture. An old warehouse for industrial paper products that occupied the heart of this block of the Ensanche; it is entered through an enigmatic tunnel that crosses residential centres. The programme of the gallery is formed by rooms for the storage and handling of works, office and meeting areas, special spaces for experimentation and specific projects; and a large central area that acts as the principal centre of energy

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of the program. The architecture makes use of only a few materials --exposed concrete structures, solid industrial floors, white walls that levitate over sunken zócalos, several pieces of furniture– to build the elemental ingredients of a gallery space –floors, walls and ceilings– in which the works of art are responsible for its definition. Basically, it is an exercise in recycling in the literal sense, of re-placing an obsolete space in the cycle of life of the city. The consolidating element of all these ingredients is the light. Both the artificial and natural light build the

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space as a rigorous resource that not only adapts to each exhibit, but also sets the stage for the specific character of each project. A system of conventional fluorescent lines is combined with a reinterpretation of the original system of skylights to create a new industrial landscape on the roof of the structure; they weave together the past, the present and the future of a place that will surprise visitors each time they return.

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A steel door on which a message in Morse Code can be discerned and three wall light boxes together with the prolongation of the pavement of the street into the interior, invite and arouse the visitor’s interest in entering this tunnel that is provided to the artists for their experiments and to discover what might occur at the end. What awaits recalls a public space, a great luminous plaza, the purpose of which is the display

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art: a room of square proportions that is organized in four “naves” separated by three beams and three pillars of recovered concrete that generate huge skylights, all ideal proportions for achieving maximum spatial lightness and a certain solemnity. The main hall is surrounded by other spaces that serve for the complementary activities of the gallery: display cabinets; the young artists’ gallery and archive; smaller

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rooms for showing works to guests, etc. The new space CarrerasMugica assumes from its architecture the responsibility of the art gallery as a catalyst in the cultural scene in the heart of the city of Bilbao. As such, it aspires to be both local y global, with a variety of superimposed programs and projects in different areas that will appeal to diverse audiences. The architecture of this collection of spaces has employed its most elemental instruments in

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order to discreetly permit the gallery’s activity to conquer the atmosphere. A project such as this is only possibly with the intellectual complicity and generosity of clients such as Pedro Carreras and Ignacio Múgica. A passionate conversation went on for months with them and with their artists, one at the outset of which nothing was taken for granted, “in such a way that guided by doubt and the search for coherence between the architecture, art and the personal goals of the owners, this exciting cultural enclave has emerged".

CREDITS. Architects.- Estudio Herreros. Partner in charge.- Juan Herreros and Jens Richter. Project Director.- José Baldó. Surface.- 850 m².. Localitation.- Heros 2 Street, Bilbao, Spain. Date.- October 3. References METALOCUS: Montcada Besòs, from backyard to front line. MASKS. Schommer. Biennales and controversies. Not everything began in 2014. Henri Cartier-Bresson's Photography. Links of interest: CarrerasMugica Gallery. Estudio Herreros.

CarrerasMugica Gallery in Bilbao by Estudio Herreros. Photography © Jaime Gartzia. Click above to see larger image.

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arrerasMúgica Gallery by Herreros Architects. | Metalocus

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CarrerasMugica Gallery in Bilbao by Estudio Herreros. Photography © Jaime Gartzia. Click above to see larger image.

Situation plan. CarrerasMugica Gallery in Bilbao by Estudio Herreros. Click above to see larger image.

Floor Plan. CarrerasMugica Gallery in Bilbao by Estudio Herreros. Click above to see larger image.

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rerasMúgica Gallery by Herreros Architects. | Metalocus Section. CarrerasMugica Gallery in Bilbao by Estudio Herreros. Click above to see larger image.

Pedro Carreras and Ignacio Mugica. Image courtesy of CarrerasMugica Gallery.

JUAN HERREROS Juan Herreros. PhD Architect, Chair Professor and Director of the Thesis Program at the Madrid School of Architecture, as well as a Visiting Professor at Columbia University in New York. He has previously taught at EPFL in Lausanne, Architectural Association in London, SOA at Princeton and ITT in Chicago. Throughout the years he has held numerous lectures, courses and international seminars as well as research workshops. In 1984, he founded, together with Iñaki Abalos, the office Abalos&Herreros, in 1992 the Multimedia International League LMI and in 2006 he founded his current office, Herreros Arquitectos through which he pursues his professional, teaching and pedagogical activity. His work has been widely published and awarded ( COAM Award; the award of Urbanism and Architecture of the City Council of Madrid; he has been selected for the Spanish Architecture Biennale, finalist for Mies Van der Rohe Award, finalist in FAD awards, and winner of the Solutia Design Award). His work has been displayed in collective exhibitions such as the ones promoted by the MOMA and individual exhibitions (AA London, IIT Chicago...). Two of them stand out, “Grand Tour”, in Las Palmas de Gran Canaria and ICO in Madrid. Amongst his books the most notable are Tower&Office (with I. Ábalos, MIT Press), Isla Ciudad (Actar), Palacios de la Diversión (Mairea), PTb-Cedric Price (Ministerio de Fomento-COAM), Vivienda SXXI (Casa Encendida-Actar) along several monographic compilations of his work.His recent work has been published by the architect’s council of Tarragona (AT#18) and Summa magazine of Buenos Aires. HerrerosArquitectos is currently working on projects in Spain, Norway, USA, Panamá, Mexico and Uruguay. Juan Herreros has received the International Fellowship of the RIBA (Royal Institute of British Architects), the Medal of Fine Arts from the city of San Lorenzo de El Escorial and has been nominated for the 2010 Medal from the American Academy of Arts and Letters.

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historical archive of teh Basque Country

spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.-

Architects.- ACXT Arquitectos.

Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa. Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

ACXT Arquitectos .- Miguel Angel Corcuera, Romina González.

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CONTENT

17/06/2014

Historical Archive of the Basque Country.

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By Gonzalo Carro, ACXT Arquitectos. [Bilbao] Spain. By: metalocus, SARA REBOLLO Categories: Architecture, Projects

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Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Photography © Aitor Ortiz. Courtesy of ACXT.

Gonzalo Carro is the author of the Historical Archive of the Basque Country,a project by ACXT. It is located in a street near Gran Vía in Bilbao, in a plot between buildings, with two façades, one to the street and another one to the interior, to a common courtyard. The main façade has been designed as a vibrating glass front that increases the perception of the building, breaking with the flatness of the street and emphasizing its location. The design seeks great transparency, allowing the workings of the building and the structure to be understood from the exterior. The outer glass skin is printed with extracts of texts from some of the documents preserved within the archive, in such a way that the building is seen as an open place, public and open up to the citizens. The interior façade has been designed with a language that tries to establish a formal dialogue with the rest of the buildings of the block, while retaining the contemporary character of the building. This façade and garden seeks to project a friendly image to the users of the courtyard, dignifying the different uses.

Descripción del proyecto por los arquitectos. The building is located in María Díaz de Haro Street, close to the main avenue of the city of Bilbao, the Gran Via. The plot measures 20 metres between the party walls of the adjoining buildings by 70 metres deep, and forms part of one of the blocks of the Ensanche (widening of the city) of Bilbao. Below ground, the building occupies the entire plot. Above ground, the building is 25 metres deep, following the criteria established in the planning regulations.

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The program is organized by floor, depending on the degree of access control of the different uses of the building. The ground floor, first floor and part of the first basement floor are for free access public uses: the main lobby, reception area, and several exhibition rooms that can also be used as a multifunction space. Through the lobby on the ground floor, the garden is accessed, a space designed to accommodate different uses such as open-air exhibitions, a reading area or area for film projections. On the second floor is the reading room and documentation consultation area, accessed by the public upon accreditation at reception. On the remaining floors above ground are the administration areas, laboratories, and documentation processing areas. These are all non-public use areas. Below ground, and also for private use, are the document vaults, meeting rooms and parking facilities. These spaces are accessed directly from the street

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level by a car lift.

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The main façade has been designed as a vibrating glass front that increases the perception of the building, breaking with the flatness of the street and emphasizing its location. The design seeks great transparency, allowing the workings of the building and the structure to be understood from the exterior. The outer glass skin is printed with extracts of texts from some of the documents preserved within the

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CREDITS.Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa. Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

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Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Photography © Aitor Ortiz. Courtesy of ACXT. Click above to see larger image.

Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Photography ÂŠ Aitor Ortiz. Courtesy of ACXT. Click above to see larger image.

Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Photography © Aitor Ortiz. Courtesy of ACXT. Click above to see larger image.

Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Photography ÂŠ Aitor Ortiz. Courtesy of ACXT. Click above to see larger image.

Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Photography © Aitor Ortiz. Courtesy of ACXT. Click above to see larger image.

Site plan. Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Image ÂŠ courtesy of ACXT. Click above to see larger image.

Floor plans +4 to roof. Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Image ÂŠ courtesy of ACXT. Click above to see larger image.

Floor plans 0 to +3. Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Image ÂŠ courtesy of ACXT. Click above to see larger image.

Floor plans -4 to -1. Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Image © courtesy of ACXT. Click above to see larger image.

Elevation. Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Image © courtesy of ACXT. Click above to see larger image.

Elevation and section. Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Image © courtesy of ACXT. Click above to see larger image.

Section. Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Image © courtesy of ACXT. Click above to see larger image.

torical Archive of the Basque Country. | Metalocus

Section. Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Image © courtesy of ACXT. Click above to see larger image.

Historical Archive of the Basque Country by Gonzalo Carro, ACXT Arquitectos. Photography © Aitor Ortiz. Courtesy of ACXT. Click above to see larger image.

GONZALO CARRO Gonzalo Carro Lopez is a town planner architect, project manager and site supervisor. He is a partner of IDOM and ACXT with over 11 years experience. He won the competitions for the construction of the Headquarter Building for the Science Park of the UPV/EHU in Leioa, the Community Centre of Salburua in Vitoria, the General Services Building of the Cruces Hospital and the Euskadi National Archives in Bilbao. His finished works have also been acknowledged with, amongst others, the following awards: “Archdaily Building of the Year 2009”, “Building of the Year Plataforma Arquitectura 2009”, “First Prize Lamp Light Solution 2010”, “Honourable Mention in the Architecture Biennale of Sao Paulo” and “Honourable Mention in the AR Awards 2009”. Other works are also worth mentioning, such as the BTEK – Technology Interpretation Centre, the GOAZ Museum or the District Heating of Bolueta or Zorrozaurre. Act.> : 05/06/2014 © 2016 - All rights reserved - Imprint

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Indautxu Square

spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro.

JAAM sociedad de arquitectura

.- Miguel Angel Corcuera, Romina González.

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11/05/2015

Indautxu Square in Bilbao by JAAM sociedad de arquitectura.

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[Bilbao] Spain.

By: metalocus, ALEJANDRA COTONER Categories: Architecture, Projects, Urbanism-Landscape, Recommendations

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Bird's eye view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography © Elker Azketa.

The project located in the Indautxu Square seeks integration in the city, replacing vehicles with pedestrians as the centre of the proposal. This new square presents two kinds of spaces: the main one dedicated to social

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events, fairs, dances, exhibitions… and the other one quieter, for walking, reading around the first one. Circular gardens of different diameters are distributed throughout the square, leaving a tree in the middle of it. JAAM generates many scenic routes that allow the walk and crossing the square in any direction are generated.

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Description of the project by JAAM sociedad de arquitectura 1. Previous conditionings

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This Project is the consequence of a Contest of Ideas. It sought the integration of a deteriorated space into the city, giving its own character and image through the creation of a specific language for the new square. Before this construction, the Indautxu Square was a deprived space that the residents avoided. It was

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split by a vehicular road. It was located above an underground car park and a commercial mall and it didn’t respond well to the subterranean infrastructures. One of the tasks of the project for the new square was to update these infrastructures in order to obey the current regulations. 2. Justification of the urban insertion in the proposal

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It was necessary to replace vehicles with pedestrians as the centre of the proposal. Two of the three roads that crossed the square were removed, leaving the other only for public transport. At the same time the perimeter of the square was enlarged, and the sidewalks of the streets were widened in order to support the stores and allow the hotels to have exterior terraces.

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The plot of Indautxus’s plaza was almost squared. Three of its sides bordered with vehicular roads, and the fourth with buildings: a block of apartments and the church Nuestra Señora del Carmen, a construction whose covering presents a characteristic inclination that we adopted for the small constructions that the square needed.

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We wanted the square to present two kinds of spaces: the main one for social events, fairs, dances and exhibitions… and the other one surrounding the first, for walking, reading: a peaceful space. 3. Justification of the compositional solution adopted

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When creating the social space we opted for a big central circle with a diameter of 40 meters. This circle would be used to celebrate fairs of the arts, of books, of local gastronomical products… To support all of these activities we built a translucent glass and wooden canopy more than four meters wide which goes along the entire perimeter of the large circle. The remaining space between the squared perimeter of the plaza and the central circle would become a peaceful space. It shouldn’t be an open space but filled with vegetation and suitable for walking. Therefore we created circular gardens with a tree in its centre, of different diameters imitating the central space, and sprinkled throughout the square. Between them there are many picturesque paths for walking that, on the other hand, allow those who are passing through to cross the square in any direction. This possibility to cross the square in all directions was another important goal that affected its definition: its urban quality. This goal presented a problem because there was more than three meters of difference in height from one extreme to the other, and we didn’t want to use steps or ramps that would affect the walking paths. The solution was to develop a continuous surface with changing inclinations generated from the union of the square’s centre with the perimeter through straight lines. On the resulting continuous surface we had to resolve, through small interventions, the different problems caused by the underground. The emergent installations of the squares for the ventilation of the stores and of the carpark, the new accesses: lifts, stairs and mechanic ramps for pedestrians, ramps for vehicle access, public bathrooms and a booth for environmental analysis. 4. General constructive characteristics To unify this response we developed angles of different geometries, built with glass and wood on a stone base. We situated them on the perimeter of the plaza to minimize the problems of the surface. The coverings of these angles always have a sharp inclination related with the architecture of the church Nuestra Señora del Carmen, the most contemporary and unique reference within the urban buildings of the area. The trees are composed of distinguished deciduous species along the big central circle: maple and liquidambar; a second ring of birches, thuya and yew trees, parrotia persica and differents perennial bushy species in the rest of the square. The bigger trees’ leafs will vary in colour throughout the year and will lose them in the autumns while the rest will keep the leaf through the seasons. For the lighting three different sizes of lamps were created: 10, 8 and 6 metres high. This illumination will be complemented with other lights from the floor, in order to indicate the ‘main paths’ and to illuminate the bottom part of the trees’ crowns. The lamps are made with a wooden post at the bottom and a structure with a leaf-like shape at the top that is illuminated at nighttime through LED projectors. Each group of lights draws a different leaf. The order of these lamps in the Indautxu Square follows a common pattern with the trees: the first ring around the circle includes the tallest lamps of 10 metres high, which also give the lighting for public events in the central circle. The second ring includes 8 meter high lamps; and the third ring, the furthest one, includes the 6 meter high ones. The lighting of the first ring is directed toward the square while the 8 and 6 meter high lamps illuminate the perimeter.

CRÉDITOS. FICHA TÉCNICA.Architects.- JAAM sociedad de arquitectura, Ander Marquet Ryan. Building surveyor.- Juncal Aldamiz-Echevarría Collaborators.- Nicolás Espinosa, Aritza Astiz, Hernán Martín. Engineering.- Idom Situation.- Plaza de Indautxu. Bilbao, Spain Dates.- 2004 (project year), 2006 (construction year) Surface.- 18,500 sqm Budget.- € 5,120,765 Promotor / Constructor.- Ayuntamiento de Bilbao / Balzola construcciones

References METALOCUS: Plaza Mayor Services Building. UAM. “Iiyama Plaza” by Kengo Kuma & Associates. Theaterplein by Studio Bernardo Secchi & Paola Viganò Israel's Square completed by COBE.

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The largest pedestrian square in Paris by TVK. Playgrounds. Reinventing the square. Links of interest: JAAM sociedad de arquitectura

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Outside view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography © Elker Azketa. Click above to see larger image.

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Bird's eye view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography © Elker Azketa.

Bird's eye view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography © Elker Azketa. Click above to see larger image.aro. Plaza Indautxu en Bilbao por JAAM sociedad de arquitectura. Fotografía © Elker Azketa.

Outside view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography ÂŠ Elker Azketa.

Outside view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography ÂŠ JAAM sociedad de arquitectura.

Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography ÂŠ Elker Azketa.

Inside view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography ÂŠ Elker Azketa. Click above to see larger image.

Bird's eye view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography © Elker Azketa.

Outside view. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography © Elker Azketa. Click above to see larger image.

Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography © Elker Azketa. Click above to see larger image.

Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Photography ÂŠ Elker Azketa. Click above to see larger image.

Situation plan before and after. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Click above to see larger image.

Gardening plan. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Click above to see larger image.

Longitudinal section. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Click above to see larger image.

Cross section. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Click above to see larger image.

Project drawing. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Click above to see larger image.

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Project drawing. Indautxu Square in Bilbao by JAAM sociedad de arquitectura. Click above to see larger image.

Ander Marquet - Juncal Aldamizechevarría - June Gómez JAAM sociedad de arquitectura

JAAM is composed by Ander Marquet Ryan (architect and urban planner by Universidad de Navarra), Juncal Aldamizechevarría González de Durana (Building Surveyer by Universidad de Navarra, Master in Business Management by Universidad del País Vasco and Project Manager by IPMA (Internacional Project Management Asociation) and June Gómez Alonso (Architect by Universidad del País Vasco. Master Science Environmental Design of Buildings, Welsh School of Architecture, Cardiff University). JAAM sociedad de arquitectura since its establishment in 2005 has made a diverse set of works spanning residential, sports, educational, transport infrastructure, plazas, public spaces and other types uses. Also highlights the work done in both residential rehabilitation and conversion of cultural spaces and leisure. The design of elements such as furniture and street lighting have also been present in our work. JAAM's works has been awarded and published internationally and it is based on their own methodology adapted to the client necessities. Their goals are focused on providing a quality service with a functional and creative architecture. In our methodology they accompany the project phase with an integrated management to expedite the whole process, ordering during the time, economy and quality. Adaptation to place and climate are always present in their work collaborating in a efficient consumption.

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CREDITS.-

OKO, cultuurhuis

Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa.

Aq4 Arquitectura

Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

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CONTENT

05/02/2013

OKE, New Culture House and Library of Ortuella by aq4 arquitectura.

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[VIDEO] By aq4 arquitectura. [Ortuella, Vizcaya] Spain.

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By: metalocus, SERGIO CIDONCHA. Categories: Architecture, VIDEO

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Library. New Culture House and Library. Photography © Adrià Goula. Courtesy of aq4 arquitectura.

aq4 arquitectura designed the new Culture House and Library of Ortuella in Vizcaya. The design tries to mold volumetrically a building to adapt to the different topographic levels that define the place, generating two different access answering to the two uses of the program, creating a project that can operate autonomously.

Memory of Project. OKE is the new Ortuella Culture House, in the former mining area of Vizcaya. Today there is no extraction of iron sulfate. The valleys that previously received rusty sand dunes, now pile groups of metal ships lacquered in polygons. Everything has been erased, and there is no trace. We have been lucky enough to build there, where a main street and a square can be joined. OKE looks from side to side through a road, as far as possible, to see and be seen from a distance in a precise approach maneuver. It is a concrete structure that alternates bays of 380 and 750 centimeters, defining the empty space – filled space, where the program is finding its place to facilitate storage and different activities. It is a flexible organization for predictable and unpredictable uses of the house of culture. Each bay defines its own section. Shaping the volumes that define the building to respond to the different topographic levels that delimit the place. From the topography of the valley, the roofs are displayed as facades. Completing a new urban route where existing exterior spaces connect with different activities in the library, square and street. Working with the topography to define two different access and uses that are set by the program. The parking entrance from the existing one on the square, can give direct access to Catalina Gibaja street (height 0.00 m).

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Allowing the Multipurpose Room to function independently, with an access of 3.35 m as part of the new plaza, where different activities can be developed, although the rest of the building is closed. We knew about the scale of the underground infrastructures. We wanted to build something that was there long ago, before the absurd polygons.

Louise Cells.

Text: aq4 arquitectura.

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CREDITS: Main architects: Ibon Bilbao España, Jordi Campos Garcia, Caterina Figuerola Tomás, Carlos Gelpí Almirall. Team collaborators: Iván Pena, Alberto Berga, Javier González, Albert Duque, María Ruiz, Mónica Molas,

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Alessandra Sirianni, Marta Milà. Promoter: Ayuntamiento de Ortuella. Builder: UTE Urioste. Date: 2011 (Finalization), 2008 (Initiation). Project: New Culture House and Library in the mining area.

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Surface: 3.480 m2 (Built), 930m2 (Urbanized). Budget: 3.348.656 € (PEM). Site: Calle Catalina Gibaja, Ortuella. Vizcaya, Spain.

OKE ORTUELLA

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META Links of interest: aq4 arquitectura. Adrià Goula.

Click above to see larger image - New Culture House and Library by aq4 arquitectura. Photography © Adrià Goula.

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Click above to see larger image - Interior view of New Culture House and Library. Photography © Adrià Goula. Courtesy of aq4 arquitectura.

Interior view of New Culture House and Library. Photography © Adrià Goula. Courtesy of aq4 arquitectura.

Site plan. New Culture House and Library. Courtesy of aq4 arquitectura.

Click above to see larger image - Parking plant. New Culture House and Library. Courtesy of aq4 arquitectura.

Click above to see larger image - Library plant, +7,20 m. New Culture House and Library. Courtesy of aq4 arquitectura.

Click above to see larger image - Library plant, +10,80 m. New Culture House and Library. Courtesy of aq4 arquitectura.

Click above to see larger image - Culture House plant +0,00 m. New Culture House and Library. Courtesy of aq4 arquitectura.

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Click above to see larger image - Culture House plant +3,60 m. New Culture House and Library. Courtesy of aq4 arquitectura.

Click above to see larger image - Installations Tower plant. New Culture House and Library. Courtesy of aq4 arquitectura.

Click above to see larger image - Section. New Culture House and Library. Courtesy of aq4 arquitectura.

Click above to see larger image - Library. New Culture House and Library. Photography © Adrià Goula. Courtesy of aq4 arquitectura.

BILBAO-CAMPOS-FIGUEROLA-GELPÍ aq4 arquitectura

E, New Culture House and Library of Ortuella by aq4 arquitectura. | Metalocus

aq4 arquitectura, was borned in Barcelona in 2003 and it is formed by Ibon Bilbao, Jordi Campos, Caterina Figuerola, Carlos Gelpí. Our work early received recognition by winning in 2003 and 2004 the two first awards in national competitions for public facilities. Following these awards we intensified our research through public competition and we were rewarded with another two concerning to equipment and housing. In 2007 we won the competition for UDC campus residential area of Coruña, which allowed us to open a new field of research within the university housing typology and timber construction. Lately we have won the first award for “Third graders and research staff Residence of the UPV” ( Basque Country University) in Leioa Spain. We have been lecturers in various national and international centers such as in 2005 at the School of Archittetura da Venezia. Furthermore, we have been selected for various exhibitions. They have been selected for the following exhibitions: RIBA Consortium. Jovespai Camp Redó market. Palma de Mallorca (2011); COAC. Architecture for Health. 18 years of healthcare architecture in Catalonia (2010); Architecture for Health. 18 years of healthcare architecture in Catalonia. Spain (2010); Own work. Housing. Techical Architecture School of A Coruña. Spain (2007); "Ortuellako Kultur Etxea". Culture house and Library in Ortuella. Vizacaya. Spain (2005). In 2003, in collaboration with arquitecturaquatre in an architecture workshop, they received COAVN Architecture awards EHAEO, interior design for housing reform at Churruca Pier and they were selected for Mostra di Archittetura Biennale di Venezia 2000 with its proposal for EUROPAN 5. In recognition of our work, we have been selected twice in the Exhibition Venice Biennale di Archittetura, within the space Contexts Vogadors in the 13th Exhibition and in 2000 for the Spainish Pavilion. Ibon Bilbao España (Portugalete 1968). COAC 37285/4. Today-1998 Associate teacher. Department of Architectural Design. ETSAB. UPC. Today-2011 Member of AxA. Arquitectes per l’Arquitectura. Today-2004 Member of architecture office “aq4 arquitectura”. Today-2003 Visiting teacher. Master "La Gran Escala". ETSAB. UPC. 2005 Member of Expert Committee on architectural themes of GISA. 2003-96 Member of architecture office “arquitecturaquatre”. 2001-97 Collaborator of architecture office Bonell, Gil i Rego arquitectes. 1996 Architect for the ETS Arquitectura de Barcelona. UPC. Jordi Campos i García (Barcelona 1968) COAC 33212/9. Today-2005 Municipal Architect of ALP. Today-2004 Member of architecture office “aq4 Arquitectura”. 2000-2003 Member of architecture office “arquitecturaquatre”. 2000 Architect for the ETS Arquitectura de Barcelona. UPC. 2000-97 Collaborator of architecture office Albert Pla i Gispert. 1997-96 Collaborator of Patronat Metropolità del Parc de Collserola. Caterina Figuerola Tomás (Palma de Mallorca 1968). COAC 29000/9. Today-2004 Miembro del estudio de arquitectura “aq4 Arquitectura”. 2003-96 Member of architecture office “arquitecturaquatre”. 2001-00 Collaborator of architecture office Ravetllat –Ribas arquitectes. 1998-96 Collaborator of architecture office Valcarce-Valls arquitectes. 1996 Collaborator of architecture office Josep Miàs arquitecte. 1996 Architect for the ETS Arquitectura de Barcelona. UPC. Carlos Gelpí Almirall (Houston 1968). COAC 28377/0. Today-1998 Teacher Dept. Construction of Architecture. ETSA La Salle. URL. Today-2004 Member of architecture office “aq4 arquitectura”. 2001-97 Collaborator of architecture office Bonell, Gil i Rego arquitectes. 2003-99 Miembro UTE Rego. Xairó. Gelpí. Brufau. Barnés. 2000-98 Member of architecture office “arquitecturaquatre”. 1999-98 Collaborator of architecture office Albert Pla i Gispert. 1997-94 Collaborator of architecture office Eduard Bru arquitecte. 1996 Architect for the ETS Arquitectura de Barcelona. UPC. Act.>. 01/2013 Act.> : 23/01/2013 © 2016 - All rights reserved - Imprint

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CREDITS.-

PAMPLONA

Architects.- ACXT Arquitectos.

Project director.- Gonzalo Carro.

.- Miguel Angel Corcuera, Romina González.

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Aranzadi’s meander park spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro.

aldayjover landscape & architecture Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa. Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

CAD.- José Ramón Rodríguez, Carlos Olmedillas, Virginia Martín, Luis Miguel Escalona, Rebeca Pesquera. Administration.- Sonia López, Blanca Ugarte, Rosa Gutierrez. Site Supervision.- Gonzalo Carro. Construction execution management.- Gabriel Bustillo. Photographer.- Aitor Ortiz. Constructor.- FERROVIAL Agroman SA. Area.- 92.031 ft2. Project dates.- Months: 12. Years: 2007-2008. Project execution dates.- months: 37. Years: 11/2009 – 06/2013. Location.- María de Haro, 3, Bilbao. References METALOCUS: Cruces Hospital General Services Building by ACXT Rehabilitation of Huesca City Archives. Piscina Vizcaya / acxt AIC 104 Social Housing Units in Borinbizkarra. Links of interest: ACXT Arquitectos

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CONTENT

12/09/2014

Aranzadi´s Meander Park by aldayjover Architecture and Landscape.

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By aldayjover Architecture and Landscape [Meandro de Aranzadi ] Pamplona. By: metalocus, BELEN CALLEJO Categories: Architecture, Recommendations

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Aranzadi´s Meander Park by aldayjover Architecture and Landscape. Photography © Pegenaute.

Aranzadi’s Meander, as so many other meanders, is the result of the double action of water and progressive human occupation with the agriculture. For these reasons Aranzadi’s Meander Park preserves most of the secular orchard that has humanized it, and simultaneously generates spaces for the river and its dynamics, and for the citizen. The topography found in the meander allowed architects to formalize the project incorporating the fluvial dynamics to the public space.

Description of the project by aldayjover Architecture and Landscape. Aranzadi’s Meander, as so many other meanders, is the result of the double action of water and progressive human occupation with the agriculture throughout centuries. During thousands of years, the dynamics of River Arga have generated rich soils, vegetation and natural ecosystems, and man has taken advantage of them. The intensification of farming sometimes has produced symbiotic relationships, and other times conflictive ones. The variability of water volumes and the river paths are the source of fertility and ecological complexity of the river side spaces. However, this variability, the uncontrollable nature of the fluvial dynamics and, in particular, of the floods, has usually been perceived as a threat. Human pressure on the territory, our need to occupy space and produce, to secure assets and lives, has exacerbated the requirement of stability and security. Dams and dikes have modified the morphology of most of the rivers. The word is “defense”, but against what? Are not the rivers and the presence of water essential for almost every human settlements? This conflictual relationship between dependence and defense occurs for millennia in urban and agricultural environments. The contradiction between fertility and security, deposit and defense, harvest seasonality and flood unpredictability, generates multiple physical situations in fluvial environments. In Aranzadi’s Meander, it’s possible to found the centennial “soft” intelligence of filtering floods and their dragged solids ( stones, trunks, wastes…) through plots dividing hedges, but also the “hard” radical defense with dykes against fluvial dynamics and the fertility of the silts deposits that river brings. Over centuries, even topography has changed and the river beach now is a high point of the meander, encasing a kind of channel. A channel made deeper and deeper by the energy of the river, in a progressive encasing. Over centuries, even the topography has changed and the river beach has seen its highestcomeback to

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end up being a high point in the meander, encasing a runway become channel. A channel theenergy of the river deepens more and more progressive interlocking. In these circumstances, Aranzadi’s Meander Park preserves most of the secular orchard that has humanized it, the physical and cultural heritage of Pamplona, and simultaneously generates spaces for the river and its dynamics, and for the citizen who now can access this city’s hidden heritage.

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The topography found in the meander allowed us to guess an inland river that the project formalized and gave coherence, incorporating the fluvial dynamics to the public space. This strip parallel to the river, under the level of the river bank, is connected upstream and downstream of the river, creating a second temporary channel. Thus, this space, the Flood Forest, incorporates the natural dynamics of the River Arga in an urban public space. After the projects for the Gallego Riverside Recovery in Zuera, and the Water Park in Zaragoza, Aranzadi’s Meander Park goes one fundamental step further in the process of converting flood in part of the urban public space. The territory of the river is a shared territory, 350 days

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for citizens (therefore assumed assumed as one of the spaces of the city), 15 days for the river (enough to generate a unique ecology), and 365 days a year for the vegetation and runoff waters. A privileged park. This is an unusual place, a beautiful meandering between Pamplona and old neighborhoods of Rochapea

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and Chantrea with a landscape of gardens and vegetation of beautiful specimens yet settled, in a suitable climate for the development of a splendid park to the public. Rebalance the position of strength with which man has been linked with the environment looking for a balance and a covenant is the ultimate goal of this proposal.

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Environmental public park. This is a unique and sensitive site in terms of different requirements that must be addressed. We propose to restore the dynamism of a natural meander, in terms of its environmental role with the river corridor what means working the vegetation, wildlife and hydropower. We seek a balance between the needs of high-quality space for citizenship, river dynamics, crop exploitation of local varieties recovered by organic

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farming and environmental role of the park in the hallway of Arga. A river landscape. Based on the pre-existing and doing a thorough analysis of the micro-topography of Aranzadi meander,

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we deduce and understand its hydraulic logic in flooding, suggesting that the park work with the functionality of the Arga River when the water flow increases, decreasing slightly the frequency of flooding of the gardens while simultaneously creating a river landscape within the park, a natural subject to the seasonal dynamics of flood water. Water is landscape in the park. A new landscape from its history. We start with the certainty that the landscape exists, lies in its behavior and its history. We propose a strategy for enhancement of the potential and the traces of the place. The territory has in its settings and behavior a past which is the basis for its future.

CREDITS. DATA SHEET.Architects authors.- Iñaki Alday, Margarita Jover. Developer.- Pamplona Municipality. Project coordinator.- Catalina Salvà, architect. Works coordinators and directors..- Jesús Arcos, arquitecto; Francisco Mesonero, paisajista. Collaborator arch.- Teresa Baldó, Marta Castañé, Marilena Lucivero, Andreu Meixide, Susana Mitjans, Hector Ortín, Raquel Villa, Júlia Salvia, arch. student. Structures.- David Garcia, Consultores BIS Arquitectos. Lighting.- Maurici Ginés, Artec3. Systems.- Ernesto Calvo, PyP. Engineering director.- Carlos Ros, Ingeniero. Purification.- Jochen Scheerer, ASEPMA. Hydráulics.-David Maruny, ABM. Landscape & Agronomy.- Roser Vives Delàs. Documentacion.- Cecilia Vinyolas. Infographics.- Davide Vason. Program.- Municipal Public Park. Budget and execution director.-Fernando Benedicto, Benedicto Gestió de Projectes. Date of project.- 2008. Date of execution.- 1st Phase: 2011-2013. Build Surface.- 1st Phase: 160.000 m² (16 ha). Budget.- 1st Phase of material execution: 5.426.590 €. Contracted execution: 1st Phase: 6.457.642 €. References METALOCUS: LATITUD Winner of Design Competition Medellín River Park. Shortlist Design Competition Medellín River Park. Moment Factory creates FORESTA LUMINA. House of Peace by Ishigami + Svendborg. Links of interest: aldayjover Architecture and Landscape.

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Aranzadi´s Meander Park by aldayjover Architecture and Landscape. Photography © Pegenaute. Click above to see larger image.

anzadi´s Meander Park by aldayjover Architecture and Landscape. | Metalocus

Sections. Image cortesy of aldayjover Architecture and Landscape. Click above to see larger image.

ARQUITECTOS ALDAY JOVER

Iñaki Alday (Zaragoza, 1965) is a partner with Margarita Jover of aldayjover arquitectura y paisaje, office founded in 1996 which deals with public works and landscape architecture with a careful and specific common approach to site. Among others, he has been awarded the FAD Award (2009), the European Prize for Urban Public Space (2002) and García Mercadal Award (2001 and 2005), besides being a finalist in the Spanish Architecture Biennial (2005 and 2009) or the Ibero-American Architecture Biennial (2004). Has been an associate professor of Architectural Projects at the ETSA del Vallès (UPC) between 1996 and 2005, and holds master's teaching in several courses and specialization courses in different universities. He is the author of the book "Learning from all your houses" (Ed. UPC), "ARQ CAT" (Ed. COAC) about contemporary Catalan architecture and "Water Park" (ACTAR), founded and directed between 2003 and 2005 the magazine "Z Arquitectura." In May 2011, Iñaki Alday has been appointed Chair of the Department of Architecture and the Ellwood R. Quesada Professor of Architecture of the University of Virginia, as Full Professor (tenured). Margarita Jover Biboum (París, 1969) is a partner with Iñaki Alday of aldayjover arquitectura y paisaje, office founded in 1996 which deals with public works and landscape architecture with a careful and specific common approach to site. Among others, he has been awarded the FAD Award (2009), the European Prize for Urban Public Space (2002) and García Mercadal Award (2001 and 2005), besides being a finalist in the Spanish Architecture Biennial (2005 and 2009) or the Ibero- American Architecture Biennial (2004). She has been Project professor and Department of Interiors coordinator of BAU school between 1998 and 2009, visiting professor at several colleges, and maintains activity in several master teachers and specialization courses in different universities. Is the author of "Water Park" (ACTAR) and jury in awards such as Europan (2009) and FAD (2010). Margarita Jover has been appointed Faculty Research in the University of Virginia, position to be taken in January 2012. Act.> : 12/12/2012 © 2016 - All rights reserved - Imprint

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interpretation center for agriculture and stockbreeding

system to function in a more efficient way.

The energy used for lighting is limited through the use of high-performance equipment and taking advantage of diffused light to illuminate all the areas of movement in the basements and garage, as mentioned above. Despite the depth of 20 metres, the use of light colours and light wells results in theses spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.-

Architects.- ACXT Arquitectos.

aldayjover landscape & architecture Structures

.- Miguel Angel Corcuera, Romina González.

Electrical Engineering.- Álvaro Gutierrez-Cabello, Miguel García. Telecommunications.- Alvaro Gutierrez-Cabello Arce, Estibaliz Lekue, Ignacio Alcázar. Graphic Design.- Natalia González Matrelle, Roberto Fernández de Gamboa, Inés Uribarren Rua. CAD.- José Ramón Rodríguez, Carlos Olmedillas, Virginia Martín, Luis Miguel Escalona, Rebeca Pesquera. Administration.- Sonia López, Blanca Ugarte, Rosa Gutierrez. Site Supervision.- Gonzalo Carro. Construction execution management.- Gabriel Bustillo. Photographer.- Aitor Ortiz. Constructor.- FERROVIAL Agroman SA. Area.- 92.031 ft2. Project dates.- Months: 12. Years: 2007-2008. Project execution dates.- months: 37. Years: 11/2009 – 06/2013. Location.- María de Haro, 3, Bilbao. References METALOCUS: Cruces Hospital General Services Building by ACXT Rehabilitation of Huesca City Archives. Piscina Vizcaya / acxt AIC 104 Social Housing Units in Borinbizkarra. Links of interest: ACXT Arquitectos

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CONTENT

13/12/2012

Interpretation Centre of Agriculture and Stockbreeding in Pamplona.

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By AldayJover Arquitectura y Paisaje. [Pamplona] Spain.

By: metalocus, SERGIO CIDONCHA. Categories: Architecture, Recommendations

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Evening exterior view of Interpretation Centre of Agriculture and Stockbreeding of Pamplona. Photography © Pedro Pegenaute.

Iñaki Alday and Margarita Jover know how water relates to the territory. For years, intentionally or accidentally, some of their projects have been developed in areas that are covered by flood water near river systems depending on time of year. The lesson is simple, do not give up their architecture, without confrontations or obstructions and involving to the flow of nature changing. If appear flood water, they let the water flood and make architecture that rises from the territory, thus securing that when the visitor arrives at the center also he changes their point of view of the landscape, and from that podium again has a new vision of it. In terms of materials, are simple and honest, nearly pristine materials, with transparent materials, white or translucent, to which is attached a simple structure, generating curves roofs, with notorious Mediterranean culture references. A hyper-realistic architecture, born of necessity and cult knowledge of the territory. Congratulations! This proposal, of Alday Jover Architects, aims at the implementation of the Agriculture Interpretation Centre in the Aranzadi Park, integrating its information and education status of horticultural and agricultural topics. Starting from the existing building on the plot, the Gurbindo House, to raise an extension that extends in a single floor, slightly elevated the breeding ground for safekeeping of flooding and to get some perspective from the building and its terraces crops.

Summary project Aranzadi meander is a strongly anthropic space. Beetwen fields appear different informal buildings, aimed at private housing in relation with adjacent productive land. This is the case of Gurbindo House, the building for the construction of the Agriculture Interpretation Centre, by its location on the perimeter of orchards and their direct contact with them. This equipment is not simply a program that supports the objectives of the Meander Park Aranzadi but reinforces and intensifies. The orchard area that retains Park project has a much higher viability with the appearance of equipment directly related, with the objectives of disseminating general farming and horticulture in particular, the training in matters related, and management possibilities this could bring. This integration concept is reinforced by an absolute desire to integrate architecture and landscape, looking for a building that: - Relates to existing buildings and that is to be reused. - Is inserted between crops as the greenhouses and tunnels. - The visual relationship with them in terms of geometry, dimensions and materials Gurbindo house and its surroundings, which is located the Agriculture.

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Louise Cells.

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Interpretation Centre and its attached outdoor spaces, has three preexisting at different levels: - The Gurbindo house, reference and reason for implementing the Center. - The ruined house to the west, in the center of the fringe market gardens. - The stone walls surrounding the west gardens of the Gurbindo house in the south (towards Vuelta de Aranzadi), east (from the back almost to the river) and west (a section that starts from the Back to midborder).

tp://www.metalocus.es/content/en/blog/interpretation-centre-agriculture-and-stockbreeding-pamplona

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Text by: I. Alday - M. Jover.

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CREDITS: Main architect: Iñaki Alday y Margarita Jover. Team collaborators: Jesús Arcos (Architect project management); Andreu Meixide, Catalina Salvà (Project Leaders architects); Hector Ortín, Raquel Villa, (assistant architects); Francisco Mesonero (landscaper collaborator); Júlia Salvia (architecture student); Cecilia Vinyolas (documentation); Roser

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Vives (agronomy engineer); Benedicto Gestió de Projectes (budget/execution); David Garcia, BIS arquitectes - FSestructuras (structures); Maurici Ginés, Artec3 (lighting design)); Ernesto Calvo, Lluís Maestu, PyP – Carlos Ros Estudioros (installations); David Solans (Environmental Engineering studio). Promoter: Town Hall of Pamplona. Date: 2012 (date of execution), 2010 (date of project).

Dear r Ulises

Project: Interpretation Centre of Agriculture and Livestock. Surface: 11.850 m². Budget: 1.780.612,62 € (Material execution budget), 2.065.510,64 € (Contracted execution budget).

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Site: Parque del meandro de Aranzadi, Pamplona. Spain. TO SEE LARGE IMAGES CLICK ON.

References METALOCUS: IÑAKI ALDAY for VIRGINIA! ZARAGOZA TRAM awarded by UITP. Links of interest: AldayJover Arquitectura y Paisaje. Jordi Bernadó. Pedro Pegenaute.

Click above to see larger image - Exterior view of Interpretation Centre of Agriculture and Stockbreeding of Pamplona. Photography © Pedro Pegenaute.

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Click above to see larger image - Exterior view, porch of Interpretation Centre of Agriculture and Stockbreeding of Pamplona. Photography © Jordi Bernadó.

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Click above to see larger image - Evening exterior view of Interpretation Centre of Agriculture and Stockbreeding of Pamplona. Photography © Pedro Pegenaute.

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Click above to see larger image - Exterior view of Interpretation Centre of Agriculture and Stockbreeding of Pamplona. Photography © Pedro Pegenaute.

Click above to see larger image - Exterior view of Interpretation Centre of Agriculture and Stockbreeding of Pamplona. Photography © Pedro Pege

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Exterior view of Interpretation Centre of Agriculture and Stockbreeding of Pamplona. Photography © Jordi Bernadó.

Interior view of general lobby and reception. Photography © Pedro Pegenaute.

Interior view of the first floor of Gurbindo old house. Photography 漏 Jordi Bernad贸.

Interior view of ground floor of Gurbindo old house. Photography 漏 Jordi Bernad贸.

Exterior view, Gurbindo old house converted in a museographic space. Photography © Jordi Bernadó.

Roof plants © Alday Jover Architects.

Ground floor © Alday Jover Architects.

Click above to see larger image - Section flooding scheme © Alday Jover Architects.

Click above to see larger image - Section © Alday Jover Architects.

erpretation Centre of Agriculture and Stockbreeding in Pamplona. | Metalocus

Click above to see larger image - Evening exterior view of Interpretation Centre of Agriculture and Stockbreeding of Pamplona. Photography © Pedro Pegenaute.

ARQUITECTOS ALDAY JOVER

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nursery school

CREDITS.-

Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa.

Isabel Bennasar

Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

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CONTENT

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31/10/2012

NURSERY SCHOOL IN ÀLABA STREET. by M. Isabel Bennasar, [BCN].

By: metalocus, ANA SEGURA Categories: Architecture, Photography

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Nursery school in Álaba Street, by M. Isabel Bennasar.

For those who are already thinking of the hard back to school, we present this little children world of calm within the accelerated Barcelona. Nice pictures to get away from books, notebooks, pencils ... and make the end of the summer much more easy! This is a nursery of 9 groups in a building developed on the ground floor. The building is located in the block defined by the streets Àlaba, Doctor Trueta, Pamplona and Ramon Turro, in the city of Barcelona. An equipment area is created on the western side of the block, following the existent location of the high school and completing it with the new center, reserving space for future green area to the east. The nine classes are organized into two groups: a group of four classrooms for children 2 / 3 years old that defines the eastern façade and the five remaining classrooms for infants and for children 1 / 2 years old, defining the southern facade. The access to the courtyard is situated between these two volumes of classrooms. All classrooms have facade and direct access to the courtyard. The classrooms have two height levels, a higher one in contact with the facade and a lower one, where inner access is situated, as well as the water areas and bedrooms. The multipurpose hall is situated as a central element, the highest volume that organizes the whole distribution scheme, with direct access to the classrooms of the 2 / 3 years old. The hall is connected to all areas of the center, and receives daylight through high windows, situated above the other volumes. Developing the volume of the school at different heights allows the natural lighting of all areas through high windows: this improves the natural lighting inside the classrooms. CREDITS Architect: M. Isabel Bennasar Félix. Collaborators team: Corina Dindareanu, arquitecta. Structures: Manel Fernández , Bernuz-Fernández s.l.p. arquitectos. Facilities: Narcís Armengol, Armengol enginyers. Budget: Xavier Badia, technical surveyor. Project date: Mars 2010, Building trade 2010-2011, (start 2010, finished 2011) Location: Calle Àlaba, esquina calle Ramón Turró, Barcelona. Sapin. Client: Consorci d’Educació de Barcelona, Builder : Construccions DECO S.A. Gross area: 1080 m2.

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Budget: 2.791.094 euros (iva incl.) Links of interest:

Louise B Cells.

M. Isabel Bennasar

p://www.metalocus.es/content/en/blog/nursery-school-àlaba-street

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Exterior view. Nursery school in Álaba Street, by M. Isabel Bennasar.

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Exterior view. Nursery school in Álaba Street, by M. Isabel Bennasar.

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Interior view. Nursery school in Álaba Street, by M. Isabel Bennasar.

URSERY SCHOOL IN ÀLABA STREET. | Metalocus

Location plan and groundfloor plan. Nursery school in Álaba Street, by M. Isabel Bennasar.

Section. Nursery school in Álaba Street, by M. Isabel Bennasar.

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occidens museum

spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro.

Vaillo+Irigaray Arquitectos

.- Miguel Angel Corcuera, Romina González.

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CONTENT

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05/07/2013

Occidens Museum. Pamplona Cathedral. By Vaillo+Irigaray Architects. [Pamplona] Spain.

By: metalocus, ÁNGELA SOLÍS. Categories: Architecture, Exhibitions, Projects, Recommendations

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Occidens Museum by Vaillo+Irigaray. Photography © Rubén Pérez Bescós.

Vaillo + Irigaray Architects have created and directed the Occidens Museum, a tour of steel into the Pamplona’s cathedral complex, showing the origins of the occident. Recently awarded the International Design, Core77 (NY) as the best exhibition in the world and the European Award of Architectural Heritage Intervention.

Project Synopsis. OCCIDENS is not an exhibition; it’s a reflection about the West. West is neither a civilization nor a geography, but a mental territory. CATHEDRAL COMPLEX II c bC -XIX c Occidens museum takes place into the Pamplona’s cathedral complex, crossing various spaces of different times: archaeological excavations II c fC-VIIIc aC, Romanesque palace, XI c, Archbishop's Palace XII c, and the gothic constructions of the Archdeacon palace of the XIV-XVI c. NARRATIVE PROJECT AND VARIOUS ATMOSPHERES The Museum is conceived as a narrative project closer to a cinematographic discipline than to the conventional schemes of the museum through a discourse deployed through different frames and different reading levels: signs, images, objects, sounds, text, projections, codes, smells and atmospheres … The project enhances the relationship between content-continent, between architecture and artworks by devising different atmospheres appropriate to each time and each space. STEEL CARPET- GUIDING THREAD The unity of the museum –composed of architectures of different times- is achieved by using a carpet of steel that meanders through the various rooms of millenarian architectures floating between archaic

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atmospheres without touching the footprints of the past, giving unity to the whole exhibition. The project is implemented by a single resource: a carpet of steel that works as a guiding thread of the whole exhibition sits, without touching, winding through the different rooms from different times. A single resource, flexible and ambivalent, is able to realize its potential to generating an iconography able to provide homogeneity to an uneven set in time and space. A black steel plate 1cm thick is bent and drilled to become gangway, pavement, bench, lamp, exhibitor… the drilled texts explain while lighting, guiding and giving content to the travel...

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Text.- Antonio Vaíllo and Juan L. Irigaray.

CREDITS.Main architect.- Antonio Vaíllo, Juan L. Irigaray, Daniel Galar and Josecho Vélaz. Team collaborators.- Architects.- Felipe Pou, Javier Gil, Iñigo Beguiristain, Ángel Álvarez, Oscar Martínez, Eva Fernández. Structure: OPERA Ingeniería, Raúl Escrivá; Metal works: LARUMBE, Goyo Larumbe; Lighting elements: IRAGO; Fabrics: PERONI; Vinyls: LUMINOSOS ARGA; Glazing: IRALDE; Audiovisual: SIENA; Interactive comunication: INNOVAE VISION; Wooden elements: DECONA. Client.- Arzobispado de Pamplona. Date.- october 2011(project); october 2012(date of completion). Surface.- 2.000 m².

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Cost.- 1.000.000 €. References METALOCUS: Construmat Award Shortlist 2011 [II] Rehabilitation of Huesca City Archives. The Waterhouse at South Bund. Design Republic's Design Collective.

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Links of interest: Vaillo+Irigaray.

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Occidens Museum by Vaillo+Irigaray. Photography © Rubén Pérez Bescós.

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Interior view of Occidens Museum by Vaillo+Irigaray. Photography © Rubén Pérez Bescós.

Interior view of Occidens Museum by Vaillo+Irigaray. Photography © Rubén Pérez Bescós. Click above to see larger image.

Courtyard of Occidens Museum by Vaillo+Irigaray. Photography © Rubén Pérez Bescós. Click above to see larger image.

Ground floor, Occidens Museum by Vaillo+Irigaray. Click above to see larger image.

Rooms plan, Occidens Museum by Vaillo+Irigaray. Click above to see larger image.

Carpet of steel, Occidens Museum by Vaillo+Irigaray. Click above to see larger image.

Pink little house, Occidens Museum by Vaillo+Irigaray. Click above to see larger image.

Curtains, Occidens Museum by Vaillo+Irigaray. Click above to see larger image.

Model, Occidens Museum by Vaillo+Irigaray. Click above to see larger image.

Occidens Museum by Vaillo+Irigaray. Click above to see larger image.

Occidens Museum by Vaillo+Irigaray. Photography © Rubén Pérez Bescós.

Antonio Vaíllo (Barcelona, 1960) y Juan Luis Irigaray (Navarra, 1956) founding members of VAILLO+IRIGARAY ARCHITECTS leaded currently with Daniel Galar (Navarra, 1979) and Jose Luis Velaz (Jaén, 1971).All of them, Architects by the University of Navarra School of Achitecture. Working method in the office is based on the concept of project strategy, which embraces the widest range of possible scales, from a simple bench to the whole city. It proposes a creative process that will develop founding concepts to be equally applied to management, procedures and design. VAILLO+IRIGARAY ARCHITECTS conceive design from a multifocal perspective, so they deal with matters from diverse points of view to contribute unifying solutions. Our source of inspiration is the project itself: the client, function, program, financial resources… are just raw materials to creativity. Consequently, every project has a unique personality, every project demands exclusive materials and details: every project requires an investigation process and a precise development, according to specific needs. The office structure is organized in four areas: eLAB:

Experimental laboratory for basic creativity to explore urban, social, cultural needs. It is oriented to

generate new patterns of interaction with the world of industry, architecture and art. I + D + i: Innovation and research with the intention to face the needs in every project according to the world of industry, construction and arts and crafts. BRANDing 360°: Platform to promote brand strategy as a 360º process. PROJECTS: Area for design and definition of urban, architectural and industrial projects. Act.> : 04/07/2013 © 2016 - All rights reserved - Imprint

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palace ‘house Condestable”

spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.-

Architects.- ACXT Arquitectos.

Tabuenca & Leache Arquitectos

Structures

.- Miguel Angel Corcuera, Romina González.

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CONTENT

09/10/2013

Palace "House Condestable" by Tabuenca & Leache Arquitectos.

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[VIDEO] by StudioBanana.tv [Pamplona], Spain.

By: metalocus, ALEX DURO. Categories: Architecture, Projects, Recommendations, REMODELING_RENOVATION

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Inner vision. Palace "House Condestable" by Tabuenca & Leache Arquitectos. Photograph © Luis Prieto.

An old palace mansion from 16th century is restored into a modern building, without renouncing to its original style, for housing a cultural center with a variety program. It is an example of sensibility in the use of materials and in the combination of modernity and heritage. Located in Pamplona, Navarra, Spain, the Palace "Casa Condestable" is an important piece into the urban develop Programa URBAN Pamplona from 2001, financed by the European Union, and which had as goal to enhance the old city and Rochape areas. Its history begins in 1548, when Luis Beamount, IV Count of León and Condestable del Reino, bought the adjacent plot to its house for enlarging it. The privilege situation of the villa, in front of the San Cernín parish and close to the Way of St. James makes of it an important venue. After the Count dead's and during the next 150 years, with others annexation and differents owners, the house was the oficial resident of the Pamplona bishops, until the finalization of the Palacio Arzobispal construction's in 1740. It has been used as the town hall during several years and its owner has been the Duque de Alba until 19th century, when it was restored by the construction maester Pedro Arrieta in 1891 to the nineteenth-century bourgeois style house. During the 20th century it has housed some private institutions and finally the spanish architectural firm Tabuenca & Leache Arquitectos has carried out its restauration to convert it into a cultural center with a wide program.

Memory of project. This was a project to restore an old sixteenth-century palatial mansion, which was in ruins and had

undergone major renovations and alterations over time, particularly during the nineteenth and twentieth centuries.

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Through an extensive cleaning and restoration process, the building´s original appearance and size resurfaced, exposing the old wood-paneled ceilings that were hidden behind false ones throughout all of the rooms.

Louise Cells.

This architectural intervention was mostly focused on the central core consisting of the main courtyard (whose original stone columns were conserved) and a small backyard.

p://www.metalocus.es/content/en/blog/palace-house-condestable-tabuenca-leache-arquitectos

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Inner vision. Photograph © Luis Prieto.

Without yielding to a contemporary aesthetic, the intervention sustains the natural continuity between the old and the new, which is established through the materials that have been used: wood, terracotta and lime mortars and plaster. It currently houses a cultural centre in Pamplona´s old quarter, including exhibition halls for events, meetings, workshops or other activities, as well as a computer lab and library and administrative municipal offices. Text.- Tabuenca & Leache Arquitectos.

CREDITS.Architects.- Tabuenca & Leache Arquitectos. Collaborators.- Belén Beguiristaín Lahuerta (architect), Arturo Pérez Espinosa and José Luis Sola (technical architect), Susana Iturralde, Raúl Escrivá and Mikel Landa (structure), GE & Asociados (engineering), Gabinete Trama (archaeology), Sagarte, S.L. (restoration), Asunción Orbe (historic study), Ayuntamiento de Pamplona (promoter) and UTE ACR - COMSA (builder). Location.- c/ Mayor 2, Pamplona (Navarra), Spain. Area.- 6.819 m2. Budget.- 9.350.538 €. Date.- January of 2005 (project), November of 2008 (construction).

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La Seca, "Restauraci贸n y Arquitectura Mediterr谩nea Award". ROOF MOLINETE ARCHAEOLOGICAL PARK, Premio Nacional de Restauraci贸n 2012. Links of interest: Tabuenca & Leache Arquitectos Palacio de Condestable

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ce "House Condestable" by Tabuenca & Leache Arquitectos. | Metalocus

Tabuenca & Leache Arquitectos Fernando Tabuenca González and Jesús Leache Resano Tabuenca & Leache, Arquitectos have developed, since the establishment of the office, a wide variety of projects and public and private works, from public architecture (administrative, industrial buildings...), other urban projects and even dwellings. They have received large recognitions for their work: Awards and short-listed from the Colegio de Arquitectos Vasco-Navarro in almost every edition, Award and short-listed Hyspalit for the best bricked architecture, Colegio de Arquitectos de Madrid Award, Ayuntamiento de Madrid Award, Consejo Superior de Arquitectura de España, Ministerio de Cultura Award, Fundación FAD and Mies Van der Rohe Fundation... They have also won first prizes in several project contests. Act.> : 04/09/2013 © 2016 - All rights reserved - Imprint

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voetgangersbrug Aranzadi park

advantage of diffused light to illuminate all the areas of movement in the basements and garage, as mentioned above. Despite the depth of 20 metres, the use of light colours and light wells results in theses spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.-

Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa.

Peralta Ayesa Arquitectos

Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

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CONTENT

27/10/2015

Pedestrian bridge in Aranzadi Park

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by Peralta Ayesa arquitectos. [Pamplona] Spain. By: metalocus, IRENE GARCÍA. Categories: Architecture, Urbanism-Landscape

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Pedestrian bridge in Aranzadi Park by Peralta Ayesa arquitectos. Photography © Pedro Pegenaute.

The project designed by Peralta Ayesa architects includes a pedestrian bridge that gives continuity to the geometric paths of the park, connecting it with the city, and a series of sheds that serve as storage for tools used in gardens that are in the park. Peralta Ayesa architects presents this footbridge design with an L-shaped in which each arm is made in a different way and material. It also has a lighting system that reinforces this duality. On the other hand, the sheds are integrated among the gardens maintaining a light and translucent appearance reminiscent of the greenhouses, besides, its modular system allows to fit their sizes according to the number of gardens around them.

Description of the project by Peralta Ayesa arquitectos. This project consists of, on the one hand, the construction of a pedestrian bridge to improve access between the park and the city and, on the other hand, the construction of some sheds, in the park’s fruit and vegetable garden area, to serve as storage spaces for the garden concessionaires. In the park system, the bridge serves not only as a separate object;it also forms a part of the geometric design of the pedestrian and bicycle paths. Jointing into the water and river system, the flow travels from ErrotazarStreet, thus avoiding the current road traffic, creating an elevated pedestrian passage and connecting to the Environmental Education Museum (Museo de Educación Ambiental).At the same time, it creates an ideal spot for visitors and an observation point from the bridge to view the park from the city.The landing in the Aranzadi Park, located at the highest point of the Plaza de los Manzanos, next to the banks of the Arga River, is a gathering point for the flow of pedestrians and cyclists traveling across the perimeter on their way to the plaza.

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An L-shaped layout has been proposed, with two orthogonal and opposing branches. Each branch has a unique antagonistic function, based on its form. There is structural purity and clarity in both elements. Itslayout, parallel to the river, located partially in the floodable area, is stony, pinned and anchored to the ground. Its slope has an angle of less than 6%, rising in the direction of the current, without offering resistance to future avenues and resembling the bridges, ramps and concrete paths of the park. The perpendicular and horizontal designis light, svelte and aerial, suggesting that it is a bridge between two realities, suspended between both. The perforated,weathered steel is located in both the parapets and thepavement, reinforcing its buoyancy and transparency, while blending in with the natural environment. Artificial lighting reinforces the essence of each part. The concrete element is illuminated along the line of the park, thanks to suspended projectors that offer uniform, superficial lighting. The weathered steel panel hides a double line of warmer lighting which allows for a volumetric illumination of the panel, backlighting the perforated surface and emphasizing its warm and volatile nature. The construction of the sheds is integrated within the fruit and vegetable garden area of the Aranzadi Park, in the style of a greenhouse. As they are located in a floodable area, the pavilions are slightly lifted above the ground, floating and creating a light and translucent image that is in harmony with the current constructions in the meander. They have a modular system that allows for each pavilion to include as many storage spaces as needed for the gardens in the surrounding area. The storage space distribution

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Louise Cells.

MURAL’

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Luis Ma Column

includes a series of modular indoor furnishings, created from panels of high resistance ecological grout.

CREDITS. DATA SHEET.Project.- The Arga River pedestrian bridge and Community gardentool sheds in the Aranzadi Park,

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Pamplona. Architects.- Juan José Peralta Gracia y Andrés Ayesa Pascual (PERALTA AYESA architects). Engineer.- Raúl Escrivá Peyró (OPERA engineering). Collaborators.-Technical architect.- Alfonso Pérez Negro. Lighting engineering.- Carlos Ros Zuasti.

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Environmental report.- FLUMEN S.L. Geotechnical study.- GEEA S.L. Builder.- U.T.E. APEZETXEA ANAIAK S.L. - GOGOR S.A. Promotor.- City Council of Pamplona. Budget.- € 929.931,74. Area.- Pedestrian bridge.- 274,70 sqm. Community gardentool sheds.- 424,50 sqm.

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Date.- Project.- April 2014 - July 2014. Construction.- December 2014 - June 2015. Location.- Aranzadi Park of Pamplona, Navarre. References METALOCUS:

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Jetty and bridge of Mont-Saint-Michel by Dietmar Feichtinger Architectes. Riberas de Loyola Footbridge over Urumea River. Riberas de Loyola Footbridge over Urumea River. Electronic walkways vs. trains in London's Tube. A Bridge Too Far Circle bridge by Olafur Eliasson. Links of interest: Peralta Ayesa arquitectos Pedro Pegenaute

Aerial view ot the pedestrian bridge in Aranzadi Park by Peralta Ayesa arquitectos. Photography © Eduardo Berián / Hidrone. Click above to see larger image.

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Pedestrian bridge in Aranzadi Park by Peralta Ayesa arquitectos. Photography © Pedro Pegenaute. Click above to see larger image.

Pedestrian bridge in Aranzadi Park by Peralta Ayesa arquitectos. Photography ÂŠ Pedro Pegenaute. Click above to see larger image.

Pedestrian bridge in Aranzadi Park by Peralta Ayesa arquitectos. Photography © Pedro Pegenaute. Click above to see larger image.

Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Photography © Pedro Pegenaute. Click above to see larger image.

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Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Photography ÂŠ Pedro Pegenaute. Click above to see larger image.

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Sketch. Pedestrian bridge in Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Site plan. Pedestrian bridge and Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

General plan. Pedestrian bridge and Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Park elevation. Pedestrian bridge and Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Longitudinal section A. Pedestrian bridge and Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Longitudinal section B. Pedestrian bridge and Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Cross section A. Pedestrian bridge and Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Cross section B. Pedestrian bridge and Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Cross section C. Pedestrian bridge and Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

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Section. Pedestrian bridge in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Lighting. Pedestrian bridge in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

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Floor plan. Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

Longitudinal section and elevation. Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

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Elevations. Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos.

Cross section and elevation. Community gardentool sheds in the Aranzadi Park by Peralta Ayesa arquitectos. Click above to see larger image.

ARCHITECTS PERALTA AYESA

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estrian bridge in Aranzadi Park | Metalocus

JUAN JOSÉ PERALTA GRACIA (1978) and ANDRÉS AYESA PASCUAL (1978) architects certified by the E.T.S. of Architecture of the University of Navarra, founded PERALTA AYESA ARCHITECTS in 2006 in Pamplona and they has jointly developed their professional activity dedicated to projects of architecture, urbanism and landscape, in both private and public sector. Over the years they have won multiple ideas competition and its most outstanding works is Burlada Youth Center, the Roncal Valley Multipurpose Center or the apartment building PASSIVHAUS in Izurtza.

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basisschool La Milagrosa

CREDITS.-

Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa.

Pereda Perez Arquitectos

Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

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CONTENT

11/09/2015

Primary School in La Milagrosa by Pereda Pérez Arquitectos.

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[Pamplona] Spain.

By: metalocus, CELIA RODRÍGUEZ. Categories: Architecture, Recommendations

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Outside view. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Photography © Pedro Pegenaute.

This primary school is presented as a separate cell in the middle of a square whose concrete perimeter adapts like a skin to different modules and interior courtyards and spaces used to light and vent. The project by Pereda Pérez Arquitectura for a primary school in Pamplona pretends to adapt to two completely different situations: on the one hand the outside area that has been treated in an orderly way, modular and solid, and in the other hand the inner area that it's not uniform, permeable and luminous.

Description of the project by Pereda Pérez Arquitectos In the project of the primary school in Pamplona, the place is the main factor without which it we could not understand this project. The plot, the result of a land subdivision, is located on the edge of a suburb of Pamplona. The geometry of the plot was almost three-cornered and it had two sidewalls corresponding to the rear of some residential buildings while the third side which was the larger one, was facing south open to a square from which it is provide access. The program is basically five educational modules fit, a big general space which organizes the above spaces and allows its use as a courtyard when the weather conditions do not allow enjoy two outdoor play yards, with their porches including also requested, in addition to some internal areas management, services and facilities. In the inside of the plot there is a bay for the non-public service areas, facilities management and organized around a courtyard that gives them their primary needs ventilation and lighting stands. Between the two bays, stands the real organizer central space of the building, circulation space, playground, multiple-purpose room at the same time communicates with porches and playgrounds is situated directly. Educational modules, consisting of a classroom, a bedroom, a workshop and bathroom looking organized physical and visual continuity, except the bedroom which is isolated, to ensure the required function. In a plot with a deep facing a unique facade, the proposal is structured with architectural courtyards and skylights mechanisms that guarantee the building of their primary needs and ventilation. The lighting skylights, as mechanisms of direct light sensors, overlap and they grow in height by hand deep into the ground with the mission to bring light and at the same time improve the visual impact of the dividing wall to be tempered by these volumes. And the courtyards, indirect light diffusers, enhancing and creating that intimate lighting in each room of the educational modules.

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Constructively the project is characterized by the use of prefabricated concrete elements. On one side in the ribbed slabs that allow large lights spaces, flexibility and construction speed. On the other hand latticework façade made also with prefabricated concrete and concrete form building singles. The latticework, as a protection mechanism campuses on the square without isolating, guarantees four areas in which the project is interested; good control of sunlight, greater privacy in a building of these characteristics located on the ground floor, ensuring a better presence of this in the public arena and assuming qualifying the "chaos" typical of this type of buildings controlled and finally get together built at the end of the outdoor courtyards in the same way the game has more packaging building in the

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conditions of the site. Finally the project from its design, treats a growing concern today around sustainability. And certainly, this works adjectives prominently on the one hand the use of geothermal energy, as a clean and sustainable energy. On the other treatment as a garden deck surface while improving the thermal

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performance of the building enhances its visual impact to treat a building on one level between housing higher.

CREDITS. DATA SHEET.

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Architects.- Pereda Pérez Arquitectos. Collaborators.- Teresa Gridilla, Sara Andorinho. Quantity surveyor.- Marc Buxó y GLSL. Building contractor.- Construcciones Guillén. Client.- Ayuntamiento de Pamplona. Área de Proyectos Estratégicos. Area.- Plot area.- 2457sqm. Gross floor area.- 1630 sqm. Dates.- Design phase.- 2009. Construction phase.- 2011-2016. Location.- Plaza Alfredo Floristán. Pamplona, Spain.

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References METALOCUS: Primary and secondary school of server Do Vouga. School No.1 of Krabbesholm Art Architecture Photography and Design School by MOS Architects Children’s Culture House ama’r by Dorte Mandrup Arkitekter Munkegaard School by Dorte Mandrup Arkitekter Kindergarten Bressol in Vilanova del Vallés. ESMA Animation School and Student Hall of Residence. Links of interest:

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Pereda Pérez Arquitectos Pedro Pegenaute

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Outside view. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Photography © Pedro Pegenaute.

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Inside view. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Photography © Pedro Pegenaute. Click above to see larger image.

Inside view. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Photography © Pedro Pegenaute.

Inside view. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Photography © Pedro Pegenaute. Click above to see larger image.

Siteplan. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos. Click above to see larger image.

General floor plan. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos.

South elevation. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos. Click above to see larger image.

Section 1. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos. Click above to see larger image.

Section 2. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos. Click above to see larger image.

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Section 3. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos. Click above to see larger image.

Section 4. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos. Click above to see larger image.

Detail. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos. Click above to see larger image.

mary School in La Milagrosa by Pereda Pérez Arquitectos. | Metalocus

Detail. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Image © Pereda Pérez Arquitectos. Click above to see larger image.

Outside view. Primary School in La Milagrosa by Pereda Pérez Arquitectos. Photography © Pedro Pegenaute. Click above to see larger image.

Carlos Pereda Iglesias + Óscar Pérez Silanes PEREDA | PÉREZ | ARQUITECTOS Carlos

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established

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ARQUITECTOS in Pamplona in 2005 and develop their activity dedicated to the realization of architectural projects. Their work has been reported in numerous magazines, publications and exhibitions at national and international levels. They develop their teaching as associate professors of architectural projects at the University of Zaragoza as well as in various workshops organized by the University of Alicante, the Research Laboratory of Architectural Design at the School of Architecture of the University of Las Palmas, the School of Architecture of the University of Navarra, the Faculdade de Arquitectura da Universidad de do Porto and the École d'Architecture de l'Université Politecnique de Lausanne and the University of Granada. They have exhibited their work at conferences in various institutions and schools of architecture at national and international level, Cadiz, Fuerteventura, Burgos, Barcelona, Seville, Madrid, Pamplona, Pontevedra, San Sebastian, Zaragoza, Ultzama, Granada, Salamanca, Porto, Sao Paulo, Seoul, Durban, Forum of Fribourg among others. They have won several awards including the International Prize CONSTRUMAT 2013 to technological innovation, the VIII BIAU Award of the Ibero-American Biennial of Architecture and Urbanism, the XII BEAU Prize of the Spanish Biennial of Architecture and Urbanism, the Spanish Architecture Award 2013 and the Special Mention of the 2015 Spanish Architecture Prize among many others.

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CREDITS.Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro.

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.- Miguel Angel Corcuera, Romina González.

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spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro.

Abalos+Sentkiewicz Arquitectos

.- Miguel Angel Corcuera, Romina González.

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CONTENIDO

26/10/2012

Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Por Ábalos+Sentkiewicz Arquitectos. [Logroño - La Rioja] España. Por: metalocus, JOSÉ JUAN BARBA Categorías: Arquitectura

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Visión interior andenes. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Uno de los últimos proyectos realizados por Ábalos+Sentkiewicz Arquitectos es la estación de trenes de Logroño, La Rioja, con él se plantea proporcionar un centro de transporte, parques públicos y el desarrollo de viviendas de diferentes tipos. Como nos comenta uno de los arquitectos de la oficina, Juan Enríquez, se trata de un proyecto complejo que forma parte de otro más amplio que abarca diferentes escalas y temas que van desde la infraestructura urbana, al paisaje y la arquitectura. El proyecto de estación subterráneo emerge al exterior con las zonas de acceso y mediante los lucernarios, pabellones poligonales que iluminan los andenes a través de unas aberturas circulares utilizando un interesante y sencillo sistema de espejos para introducir la luz natural. La parte más característica se encuentra en el interior cubierto por una piel facetada de placas de aluminio sobre la estructura metálica. Un buen proyecto del que a continuación dejamos la memoria de los autores. La estación ferroviaria se ha proyectado atendiendo al papel urbano que se le asignó desde un principio a través de la propuesta ganadora del concurso internacional y el planeamiento urbanístico y paisajístico posteriormente desarrollado. La estación sirve como punto de arranque de un nuevo proyecto urbano, que restablece la conectividad entre las zonas Norte y Sur de Logroño y a su vez da pie a un gran parque público del que su cubierta forma parte integral y que da su impronta geométrica y topográfica al volumen. Todas las Estaciones en superficie que conocemos suponen una interrupción brusca de la continuidad urbana; precisamente el elemento urbano que está destinado a unir y congregar la ciudad con el territorio acaba dejando un vacío en la ciudad que implica segregaciones urbanas y sociales. La oportunidad para repensar la tipología de la estación que significa el soterramiento de las vías implica un vuelco en la forma de concebirlas. La Estación Intermodal es una oportunidad para transformar la ciudad, crear espacio público, desarrollar anillos verdes, fomentar la movilidad peatonal y en bicicleta: una oportunidad para crear una nueva topografía que intensifique la experiencia de la ciudad como hecho colectivo. Lo que hace singular el proyecto es haberse afrontado desde sus inicios con una intensidad repartida entre los temas infraestructurales y urbanísticos, paisajísticos y arquitectónicos, ecológicos y económicos; es decir, con un modelo de gestión y diseño totalizador, que busca calidad e innovación en todos los momentos del proceso y que atiende tanto a los aspectos cuantitativos como cualitativos. En este sentido puede hablarse de una experiencia pionera en landform buildings y ecological urbanism, ideas arquitectónicas y urbanísticas de las que el proyecto ha sido referencia.

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Planeamiento urbanístico, estación Intermodal, parque urbano y cinco torres residenciales, Logroño, 2008-2011 Concurso Internacional por invitación. Primer Premio (2006) Cliente: LIF 2002,SA (Ayuntamiento de Logroño, Comunidad autónoma de La Rioja, ADIF) Dirección Técnica LIF 2002, SA: Mª Cruz Gutiérrez Situación: Logroño, La Rioja, España Programa: Plan Especial de Reforma Interior, aprobado (2006-2009): Estación ferroviaria, Estación de autobuses, Aparcamientos, Viviendas, Parque y Urbanización.

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tación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. | Metalocus Superficie Intervención: 213Ha. Sup. Estación ferroviaria: 8.000m2. Sup. andenes: 19.000m2. Sup. aparcamiento: 18.000m2. Sup. Estación de autobuses: 10.800m2. Sup. urbanización: 145.000m2. Sup. Residencial (Torres): 41.250m2. Sup. Residencial (resto de viviendas del planeamiento): 83.750m2. Presupuesto Fase I (Soterramiento + Estación ferroviaria): 108.000.000€ Presupuesto Estación de Autobuses: 20.000.000€ Estado: Estación de Tren y Alta Velocidad concluida, parque y urbanización concluidos.

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CONCURSO INTERNACIONAL Y PLANEAMIENTO URBANÍSTICO Cliente: LIF 2002, SA. Dirección Técnica LIF 2002, SA: Mª Cruz Gutiérrez. Dirección del proyecto: Abalos + Sentkiewicz arquitectos (Iñaki Ábalos, Alfonso Miguel, Renata Sentkiewicz). Colaboradores: Yeray Brito, Aaron Forest, Pablo de la Hoz, Ismael Martín, Laura Torres, Fernando Rodríguez, Haizea Aguirre, Elena Rodríguez, Verónica Meléndez.

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Paisajismo: Ábalos + Sentkiewicz (Iñaki Ábalos, Renata Sentkiewicz). Colaboradores urbanísticos: ARUP (concurso) / Ezquiaga Arquitectura Sociedad y Territorio SL (PERI). Infografías: Neograma (Luis Cabrejas), Aaron Forrest, Pablo de la Hoz, Ismael Martín. Maqueta: Jorge Queipo.

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OBRA FERROVIARIA/ESTACIÓN DE ALTA VELOCIDAD Cliente: LIF 2002, SA/ADIF. Dirección Técnica LIF 2002, SA: Mª Cruz Gutiérrez. Ingeniería: UTE Ineco-Sener. Dirección del proyecto: Francisco Cifuentes (Ineco), Pelayo Suárez (Sener). Arquitectura: Abalos + Sentkiewicz arquitectos. Dirección del proyecto de arquitectura: Iñaki Ábalos, Alfonso Miguel, Renata Sentkiewicz. Colaboradores: Jorge Álvarez-Builla, Yeray Brito, Aaron Forest, Victor Garzón, Pablo de la Hoz, Ismael Martín, Laura Torres, Rodrigo Rieiro, José Rodríguez. Estructura + Instalaciones: UTE Ineco-Sener. Dirección de la obra: INECO (Eduardo Muñoz) / TYPSA (Ricardo Castejón). Asesoría Arquitectónica de dirección: Iñaki Ábalos. Constructora: SACYR. Paisajismo: Arquitectura Agronomía (Teresa Galí-Izard) / Ábalos + Sentkiewicz (Iñaki Ábalos, Renata Sentkiewicz). Infografías: Neograma (Luis Cabrejas). PARA VER LAS IMÁGENES EN GRANDE SEÑALA ENCIMA.

Referencias METALOCUS: ÁBALOS+SENTKIEWICZ. 6 VERTICALSCAPES. La Caseta desmontable y la Casa Bloc del GATCPAC. Iñaki Abalos y Victor Pérez Escolano. IÑAKI ÁBALOS. ÁBALOS+SENTKIEWICZ. Homenaje a Luis Moreno Mansilla. Momentos de la arquitectura en España: miradas contemporáneas sobre su historia FAD Premios 2011 Spanish Architects ABROAD / Arquitectos españoles en el extranjero. BRUNO TAUT. ARQUITECTURA ALPINA Enlaces de interés: Abalos+Sentkiewicz arquitectos José Hevia

Visión exterior accesos. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

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Visión zona de espera de viajeros. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

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Bajada a la zona de andenes. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Andenes llegada de tren. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Iluminación natural de andenes. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Vista del techo en la zona de andenes. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Maqueta del conjunto urbano. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Plan urbanístico. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos.

Dibujo de la propuesta en 3D. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Planta y sección de la estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos.

Montaje de los techos en las zona de hall. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Construcción de los techos en andenes. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Vista exterior de los lucernarios que iluminan los andenes. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

Detalle exterior de los lucernarios que iluminan los andenes. Estación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. Fotografía © José Hevia.

- ABALOS+SENTKIEWICZ ARQUITECTOS

Ábalos+Sentkiewicz arquitectos. Desde 1999 Iñaki Ábalos y Renata Sentkiewicz han colaborado ininterrumpidamente en distintos proyectos de gran diversidad escalar y programática, primero en Ábalos&Herreros y desde 2006 en la firma Ábalos+Sentkiewicz arquitectos. Su arquitectura se caracteriza por la consistencia técnica y formal, la coherencia entre teoría y práctica y la integración disciplinar entre arquitectura, paisaje y medioambiente, en la búsqueda de lo que ellos mismos han denominado una nueva “belleza termodinámica”. Su trabajo de los últimos años ha sido recogido en las monografías Ábalos, Herreros, Sentkiewicz Arquitectos (DA Documentos de Arquitectura nº 63, COAA, 2007) Ábalos+Sentkiewicz arquitectos. Thermodynamic beauty, 2G nº 56 (GG, 2011), y La Intermodal de Logroño (Q estudio, 2012). Los proyectos y obras de Ábalos+Sentkiewicz arquitectos han merecido distintos premios internacionales, han sido ampliamente divulgados por los medios profesionales y objeto de exposiciones tanto individuales (Colegio Oficial de Arquitectos de Cataluña, Barcelona. 2000, 2005; AA School, London. 2003; Illinois Institute of Technology, Chicago. 2004; Fundación ICO, Madrid, 2005; Círculo de Bellas Artes, Madrid. 2007; Universitá Roma Tre, Roma, 2009, Bienal de Arquitectura de Buenos Aires, 2011) como colectivas (Biennale di Architettura di Venezia, Venice, 1999, 2002, 2005, 2012; Museum of Modern Art, New York, 1995, 2005, 2006; Pavillon de l’arsenale, Paris, 2006; Ecological Urbanism, GSD Harvard University, 2009; Laboratorio Gran Vía, Fundación Telefónica, Madrid, 2010; Proyecto Tierra, Alhóndiga, Bilbao 2010). Su actividad en colaboraciones experimentales con otros profesionales se plasma en la creación del Laboratorio de Técnicas y Paisajes Contemporáneos (LTPC), creado y dirigido por Iñaki Ábalos desde 2001, para el desarrollo de proyectos de investigación tanto en el ámbito académico como en el institucional (Princeton University, ETSAM, Berlage Institute, COAC, Cornell University, Harvard University, BIArch…). Algunos de los trabajos del LTPC han quedado recogidos en distintas monografías como Campos de Batalla/Battlefields (COAC publicaciones, 2005), Cuatro Observatorios de la Energía (COA Canarias, 2007) Laboratorio Gran Vía (Fundación Telefónica, 2010), Campos Prototipológicos Termodinámicos (CTA-ETSAM, UPM, Madrid, 2011) “Arquitectura Alpina, Bruno Taut” (Ed. Círculo de Bellas Artes, Madrid, 2011), “Thermodynamism and the high rise mixed use” (GSD Harvard, 2012). Ábalos+Sentkiewicz arquitectos, con oficinas en Boston y Madrid, destacan en la escena contemporánea como una de las pocas firmas internacionales capaces de combinar un profundo sentido de la autoría (todos los proyectos están dirigidos personalmente por los socios directores de la firma) con una actitud colaborativa sistemática, incluyendo en el proceso de diseño desde los primeros pasos profesionales de diferentes campos, clientes e instituciones, algo que se refleja en el éxito de su obra construida, tanto en el ámbito urbano como en los medios especializados.

Act.> : 11/07/2014 IÑAKI ÁBALOS Iñaki Ábalos, (San Sebastián, 1956) se graduó de la Escuela Técnica Superior de Arquitectura de Madrid ETSAM), antes de pasar a convertirse en doctor en Arquitectura (1991) y profesor de Proyectos en la ETSAM él. En 2009 fue profesor Kenzo Tange en la Universidad de Harvard y desde 2010 ha sido profesor invitado en la Graduate School of Design (GSD). Es miembro fundador de Ábalos & Herreros (1984-2007) y de los arquitectos Ábalos + Sentkiewicz, ha pertenecido al comité científico del Centro de Estudios del Centro Canadiense de Arquitectura (CCA) en Montreal (desde 2005) y al Consejo de Administración del Instituto de Arquitectura de Barcelona (desde 2008). Es el director del Laboratorio de Técnicas y Paisajes Contemporáneos (Madrid, desde 2002), y en 2009 el Instituto Real de Arquitectos Británicos (RIBA) le otorgó su international membership. Ha impartido clases en la Architectural Association (Londres), la EPF (Lausana) y en las universidades de Columbia, Princeton y Cornell. Ábalos es autor de "Le Corbusier. Rascacielos" (Ayuntamiento de Madrid, 1988), la Torre y la oficina (The MIT Press, Cambridge [Massachusetts], 2003) y "natural-artificial" (ExitLMI, Madrid, 1999), con Juan Herreros, y de La buena vida (Editorial Gustavo Gili, Barcelona, 2000), los dos volúmenes del Atlas Pintoresco (Editorial Gustavo Gili, Barcelona, 2005 y 2007), y la monografía de Alejandro de la Sota (Fundación Caja de Arquitectos, Barcelona, 2009, con Josep Llinàs y Puente Moisés). También editó Naturaleza y artificio (Editorial Gustavo Gili, Barcelona, 2009). Act.> : 28/04/2013 RENATA SENTKIEWICZ RENATA SENTKIEWICZ (Kolo, 1972) se graduó como arquitecta en el Politécnico de Cracovia. Desde 2007 ha sido Profesor Asociado de Proyectos de la ETSAM y del Laboratorio de Técnicas y Paisajes Contemporáneos

tp://www.metalocus.es/content/es/blog/estación-de-alta-velocidad-de-logroño-por-ábalossentkiewicz-arquitecto

tación de alta velocidad de Logroño por Ábalos+Sentkiewicz Arquitectos. | Metalocus (desde 2002). En 1999 comenzó a trabajar como asistente en Ábalos & Herreros, y en 2001 se hizo socio. Es miembro fundador de arquitectos Ábalos + Sentkiewicz y miembro de la Alianza Cero Energía (desde 2009). Ha impartido talleres y seminarios de arquitectura y paisaje en diferentes centros internacionales, principalmente el Instituto Berlage, IUAV de Venecia, la Cerdeña Festarch, el EURAU, el COAC, la Universidad Nacional de Colombia y el CEU. Es la editora de "Cuatro observatorios de la Energía" (COA Canarias, Santa Cruz de La Palma, 2007). Act.> : 10/02/2012 © 2016 - Todos los derechos reservados - Aviso legal

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CREDITS.-

SAN SEBASTIAN

Architects.- ACXT Arquitectos.

Project director.- Gonzalo Carro.

.- Miguel Angel Corcuera, Romina González.

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infopunt San Sebastian culturele hoofdstad van europa 2016 advantage of diffused light to illuminate all the areas of movement in the basements and garage, as mentioned above. Despite the depth of 20 metres, the use of light colours and light wells results in theses spaces being bright during daytime periods and not requiring artificial lighting.

CREDITS.-

Architects.- ACXT Arquitectos.

Project director.- Gonzalo Carro.

.- Miguel Angel Corcuera, Romina González.

Zuloark

META

CONTENT

07/01/2016

Information point of Donostia/San Sebastián 2016

META

by Zuloark. [Donostia/San Sebastián] Spain.

By: metalocus, LEONOR MARTÍN Categories: Architecture, Pavilions

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Information point of Donostia/San Sebastián 2016 by Zuloark.

The collective Zuloark has started to build the information point of Donostia / San Sebastian, European Capital of Culture 2016. Their proposal was the winner of the open competition for architects under 40 in the past month of May. The pavilion, designed by Zuloark will be an information point of Donostia/San Sebastián 2016, but one of the conditions of the project is that in future the pavilion will become a series of street furniture for the city of San Sebastian. The information point will be located in the park Eder Alderdi but its design allows the modules to move around the city as small desks, carrying the information beyond the city center.

Description of the project by Zuloark We propose a design for Donostia's public space. An open working method with a very simple idea, designing the future public space of Donostia and assemble that future in a pavilion in the present. Our proposal thinks a sort of catalog of urban furniture that will be distributed throughout the city but first can function as a catalog of "bricks" with which the pavilion of the cultural capital of Donostia 2016 is built. We propose that the event continues becoming a direct driver of change for the city and through an open strategy, let that change can be observed once the event is over. Donostia will never be the same, in 2017 all the parts of the pavilion will be benches, lampposts and street furniture that will form the landscape of the city. Guarantees. Informal seal of quality that the pavilion offers.Citizen infrastructure.The pavilion is designed to enable citizens to participate and use it actively. We propose it could be used as a resource for independent culture. Marks and signatures.Each of the pieces of furniture and benches that form the pavilion, will be marked by the craftsman or technician who has made it. Versatility.We do not propose a closed design at all, but a system that is able to crystallize in other forms and be adapted to different needs.

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Reuse-Materials.Not only the pavilion will be 100% reusable, but we will try to reuse municipal materials in the process.

Louise Cells.

Headquarter.The pavilion will be the basis of a fleet of trolleys that will function as desks that allow all Donostia's neighborhoods access the capital.

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Collaborative competition.We propose that, at an earlier stage, we can incorporate the best ideas from other teams. These can be hired to develop the design of a line of street furniture.

Rehabil Cultural

CREDITS. DATA SHEET.Title.- DSS2017 - AYER DIJISTE MAÑANA. Authors.- Zuloark + Alberto Rey + Tipi Studio. Client.- DSS2016.

p://www.metalocus.es/content/en/blog/information-point-donostiasan-sebastián-2016

Luis Ma Column

Location.- Alderdi Eder, Donostia. Date of competition.- August 2015. References METALOCUS: "i-citi/i-land" Russian pavilion in Venice. The Orangery pavilion by Lenschow & Pihlmann + Mikael Stenstrรถm. Mies Pavilion without doors. "Second Reconstruction", by Jordi Bernadรณ. Ten years of temporary pavilions at the Serpentine. Serpentine Gallery Pavilion 2011, by Peter Zumthor Dykers Craig talking us on: 9 / 11 Memorial Museum Pavilion.

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Links of interest: Zuloark Donostia/San Sebastiรกn 2016

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Information point of Donostia/San Sebastiรกn 2016 by Zuloark.

ormation point of Donostia/San Sebastiรกn 2016 | Metalocus

Information point of Donostia/San Sebastiรกn 2016 by Zuloark.

Information point of Donostia/San Sebastiรกn 2016 by Zuloark. Click above to see larger image.

. ZULOARK

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Riberas de Loyola brug

CREDITS.-

Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa.

Anta IC & Agence TER

Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

META

CONTENT

10/01/2014

Riberas de Loyola Footbridge over Urumea River.

META

By Anta IC and Agence Ter. [San Sebastian] Spain.

By: metalocus, SARA REBOLLO Categories: Architecture, Design, Projects, Urbanism-Landscape

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Civil engineering company Anta and Agence TER Landscape Architects designed this footbridge in San Sebastian, Spain. Located over the River Urumea, Riberas de Loyola Footbridge means a new connection between the city on one side of the river and the natural environment of the park on the opposite bank. A good example of subtle, careful and well-thought-out design.

Memory of project The bridge is made of a single cell steel box girder with 3 spans of 9,24, 73,92 and 9,24m. The width of the deck varies (3m. in Ribera de Loyola / 6,4m. in Cristina Enea). In order to provide the bridge with volume and distinguish between two riverbanks of the Urumea river, 2 distinct areas of the web are made. The web on the Park riverbank is a flat vertical surface, and on the Riberas de Loyola it is a curved-warped surface. All the elements of the bridge are curved in elevation and / or at the base, providing therefore a strong contained dynamism. The footbridge was designed together with Agence TER, french-german Landscape Architecture Office.

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The footbridge is located on the river Urumea in San Sebastian. On the left bank of the river is a new urban area, while the right bank is a historic city park. The bridge crosses the river with a span of 73,92m. without intermediate supports. The bridge is restrained in the abutments. These elements are hidden, and the two ends of the bridge draw the outline of the field to adapt. Thus, the pedestrian access to the riverside vegetation without destroying it. The bridge structure is a beam of 92,4m. long, with 3 spans of 9,24, 73,92 and 9,24m. The width of the bridge is variable (3m in the city / 6,4m in the park). The maximum width is achieved by projections to the box - girder, this allows the disposal of banks. In order to provide the bridge with volume and distinguish between two riverbanks of the Urumea river, 2 distinct areas of the web are made. The web on the Cristina Enea Park riverbank is a flat vertical surface, and on the riverbank of Riberas de Loyola it is a

tp://www.metalocus.es/content/en/blog/riberas-de-loyola-footbridge-over-urumea-river

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beras de Loyola Footbridge over Urumea River. | Metalocus curved - warped surface. The intersection of the two surfaces generates a parabolic shape. Inside the cell box is stiffened by transverse bulkheads. The separation between these elements is 2310 mm. The cross section is very variable: rectangular in the park; trapezoidal in the city. The top of the box width is 4500mm. The bottom width varies between 4500mm. (in the park) and 1275mm. (in the city).

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The depth is very variable: zero at the extremes, 2,9m. on the park ,2,2m. on the city, and 1,2m. on the River. The upper flanges of the box are two sheets of 35x500 or 45x500mm. Their transverse separation is 4500mm between the axes. Its path is winding. It´s at the height of the pavement in the park, and 0.9m

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above the pavement on the river. The purpose of the spans of 9,24m located in the abutments is restraining the beam. The lateral spans originate some reactions of compression at the internal supports and traction on the ends. The reactions of compression are transmitted to the abutments by the neoprenes. Traction reactions are collected by double bolt anchors. These elements allow longitudinal displacement, but prevent from vertical

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Construction.

Riberas de Loyola Footbridge. Anta IC and Agence Ter. Photography courtesy of Anta IC.

The abutment of the park is built directly. The abutment of the river has piles of 40m. long. The two abutments have a perimeter wall delimiting visitable enclosure. The field hiddens the abutments. So the bridge appears to arise from the ground. The bridge was designed to be simple to assemble. No temporary supports were placed in the river. The structure was divided into three parts. The two ends were anchored to the abutments, and placed cantilevered. Subsequently placed the central section on the river, and joined the three sections by welding. The footbridge is a three-span continuous beam, which works to bending. The cross section is very variable, and due to the hyperstatism the inertia variation directly affects the efforts. Mechanical properties were obtained in 43 sections of the bridge. This allowed a very tight calculation of deflections, supported by the load test. The deflection of the bridge was limited to L/1500 for an overload of 2 kN/m2. This led to a good dynamic behavior of the structure. Text.- Anta IC

CREDITS.Authors.- Anta Ingeniería Civil, Agence TER. Total cost.- 1,172,813.36 €. Location.- San Sebastian, Spain. References METALOCUS: Schanerloch Bridge. PEDESTRIAN BRIDGE HØSE BRIDGE by Rintala Eggertsson Architects BRIDGE in Paris. BRIDGE PRESIDENT. Accents in a new rustic business park. Links of interest: Anta IC Agence TER

META Riberas de Loyola Footbridge. Anta IC and Agence Ter. Photography © Idoia Unzurrunzaga. Courtesy of Anta IC. Click above to see larger image.

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Riberas de Loyola Footbridge. Anta IC and Agence Ter. Photography © Idoia Unzurrunzaga. Courtesy of Anta IC. Click above to see larger image.

Riberas de Loyola Footbridge. Anta IC and Agence Ter. Photography © Mario Michel. Courtesy of Anta IC. Click above to see larger image.

eras de Loyola Footbridge over Urumea River. | Metalocus

Riberas de Loyola Footbridge. Anta IC and Agence Ter. Photography © Mario Michel. Courtesy of Anta IC. Click above to see larger image.

CIVIL ENGINEERING ANTA anta is a young civil engineering company founded in May 2003 by Mario Guisasola (Civil Engineering graduate from the Universidad Politécnica de Madrid and Master Ouvrages d'Art at the Ecole Nationale de Ponts et Chaussées, Paris). In July 2005 AENOR awarded anta the Certificate of Company Registration and the right to use the trademark. The main purpose of anta’s activity is the design and construction management of civil engineering projects focused primarily on the field of bridges, and special structures. Their projects are based on clear structural concepts, endowed with a formal restraint away from unnatural solutions. anta has different areas of work: bridges, industrial buildings, special foundations, repair and reinforcement of structures, etc. The company's customers are public agencies, engineering companies, architectural studios and construction companies. Act.> : 09/01/2014 © 2016 - All rights reserved - Imprint

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CREDITS.-

VITORIA GASTEIZ

Architects.- ACXT Arquitectos.

Project director.- Gonzalo Carro.

.- Miguel Angel Corcuera, Romina González.

META

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242 sociale woningen

CREDITS.-

Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa.

ACXT Arquitectos

Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

META

CONTENT

03/05/2012

242 SOCIAL HOUSING UNITS

META

by Iñaki Garai Zabala (ACXT Architects) [Salburúa]Vitoria-Gasteiz. Spain By: metalocus, PEDRO NAVARRO Categories: Architecture, HOUSING, Projects

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Is red the new black residential buildings? Yesterday we presented the residential apartments in Gandia, Valencia, today in Vitoria-Gasteiz: University Housing by Guallart Architects, and today we continue with this apartment building in Salburúa, Vitoria-Gasteiz, of 242 subsidized housing, by Iñaki Garaizabala. An interesting proposal from urban phase, morphologically it is interesting because the apple leaves one open sides and the buildable area to move to a corner to form a tower. In the second step, the skin cladding and which eliminates the typical open roof deck. Skin also makes it clearly recognizable. "The plot, in accordance with the criteria established by the town planning, is occupied by a 21 storeyhigh tower and a continuous U-shaped block with a varying height between four and seven floors. All the front gates of the development are on the ground floor, as well as nine retail units. The two basement floors occupy the whole plot and house the garage, the box-rooms and technical rooms and the rest of the surface is used for council housing.

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The building is designed from a rationale of energy saving and economy of means, following the criteria established by the developer. Town planning gave us a certain leeway as regards to the height of the building, which was used to achieve the maximum exposure to sunlight of the patios and the façades that look over it by limiting the

Louise B Cells.

maximum height of the building located to the south.

p://www.metalocus.es/content/en/blog/242-social-housing-units

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The dwellings are double fronted, the bedrooms being on the façade that looks over the garden patio, whilst the kitchen and living areas face the street. Thus, the public area of the house is linked with its urban equivalent, and the more private one destined for rest, is linked with the inner courtyard as a space of peace and quiet. Given the view from the rest of the towers of the roof of the lowest block of the building, an important effort was made to treat its appearance with care, considering it, without a doubt, as the building's fifth façade. For that purpose, all buildings services are grouped around the central axis of the building and are ventilated through a continuous ventilation grille, thus avoiding the presence of rooftop typical chimneys. As regards to the proposed typology, how space is dealt with is worth noting. It is as if we were dealing with an open and free space, its centre occupied by a cluster of rooms with plumbing in them, all served by a single shaft, which is painted black, educationally showing how the building services work and, at the same time, offering a perception of a unique space crossed by light from one façade to another.

Apart from the typical building services of a block of flats, the installation of a cogeneration system complementary to the conventional thermal production of a central heating boiler with individual management is worth mentioning. This system covers part of the hot water and heating needs of the building whilst producing electricity to sell. The cogeneration unit consumes natural gas to generate 70 KW of electricity and 109 KW of thermal power in the same process, by making the most of the heat generated during the cooling of the motor and exhaust fumes. That implies a considerable reduction of CO2 emissions to the atmosphere and, furthermore, the fact of producing and managing its own energy allows, in turn, for a considerable saving in the electricity bill of the users.

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The decisions regarding the image that we put forward for the building were conditioned by the proposed idea to build five towers on Salburua Avenue as a town planning landmark and as an answer to its intention of identifying different areas of the city in its expansion process. In this case, not churches but council subsidized houses rise above the skyline of the city, an expression of the creed of the society of welfare and its commitment with citizenship's right to a decent home, regardless of the economic level of the people who live in them. The building we are showing occupies the central position of these five towers and it signifies "a milestone within the milestone" which, with its red colour, intends to express optimism, confidence and commitment with the future in a mainly grey social and architectonic frame.

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Development of 242 affordable units located in the expansion area to the east of Vitoria-Gasteiz, specifically in Sector 11, plot M3, Salburua. The building consists of a 20-storey tower in the south-west and a continuous U-shaped block, of 4 to 7 floors, covering alignments west, north and east of the plot. Entrances to the flats and the 9 premises are located on the ground floor ; the garages, the storage rooms and the tower´s technical rooms are located on the two basements,; additional storage rooms of the dwellings are located in the attic. The houses are built with a view to offering excellent living conditions, being energy efficient, and economizing the common areas, giving priority to double orientations and offering the best views of the environment.

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Vista espacio urbanización interior. 242 viviendas de protección ofcial por Iñaki Garai Zabala (ACXT Architects). Fotografía © Aitor Ortiz.

In the interior, development is proposed to maintain the spirit of continuous green area plan (the linear park), so that the courtyard is perceived as an expansion of urban space instead of an enclosure. Project Credits: Architects: ACXT Architects. Main Architect: Iñaki Garai Zabala. Collaborators architects: José Marcos Cavallero, Ricardo Moutinho, Helena Sá Marques, Oscar Ferreira da Costa, Nuria Perez, Beatriz Pagoaga, Inés López. Engineering: IDOM. Facilities:Francisco José Sánchez, Jon Landaburu, Unai Medina, Daniel Torre, Oscar Malo, Begoña Sanchez. Telecommunications: Aritz Muñoz, Ibai Ormaza. Budget: Juan Dávila. Structure: FS Estructuras. Rederings: ACXT. Geotechnical: Eptisa – Cinsa. Health and Safety Coordinator: Spril Norte. Program: 242 social housing units. Site: Parcela M3 del Sector 11 de Salburua. Vitoria – Gasteiz. Spain. Developer: VISESA Vivienda y Suelo de Euskadi S.A. Total gross build surface: 38.670 m2 Construction budget: 18.160.000 € Images: via V2com

References METALOCUS: Piscina Vizcaya / acxt AIC EPSILON EUSKADI Links of interest: ACXT

Different solutions for the composition of apple. 242 social housing units by Iñaki Garai Zabala (ACXT Architects). Photography © Aitor Ortiz.

Access to building from interior urban area. 242 social housing units by Iñaki Garai Zabala (ACXT Architects). Photography © Aitor Ortiz.

p://www.metalocus.es/content/en/blog/242-social-housing-units

Residential flat roofing level. 242 social housing units by Iñaki Garai Zabala (ACXT Architects). Photography © Aitor Ortiz.

p://www.metalocus.es/content/en/blog/242-social-housing-units

ACXT Architects. IÑAKI GARAI ZABALA Iñaki Garai Zabala is part of ACXT architects (IDOM Group) since 1993. Member of the group since 2002, is director of Architecture, from the North zone. Among his most important works include the General Services Building in Erandio, a sports center in Bakio, Beijing Campus of CEIBS Business School and a number of social housing developments. His work has been recognized by awards FAD, the Biennial of Spanish Architecture, Camuñas Foundation, the International Architecture Biennale of Sao Paulo and more recently by the China Association of Architects. His projects have been published in prestigious journals and books on architecture. He has spoken at national and international levels: at the Cervantes Institute in London, at universities in Spain and Mexico in the IASP Congress in Beijing among others. ACXT, an architecture services provider. Its philosophy marks the creation of a professional framework of collaboration and avail of its members’ synergies, always from a full understanding of architecture: both technically and culturally. ACXT is committed to signature architecture, understood in terms of respect for the

SOCIAL HOUSING UNITS | Metalocus creative values that architects, with a clear customer orientated practice, have historically contributed throughout the whole intellectual and constructive process. ACXT-IDOM has become the largest provider of professional services to architecture in Spain and one of the most relevant worldwide. In the January 2012 edition of the BD World Architectureâ&#x20AC;&#x2122;s Annual Survey, a British publication that gathers the hundred most important architecture firms worldwide, ACXT-IDOM was ranked number 48. Act.> : 03/05/2012 ÂŠ 2016 - All rights reserved - Imprint

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CREDITS.-

Architects.- ACXT Arquitectos. Project director.- Gonzalo Carro. Project architect.- Gonzalo Carro. Other architects .- Ion Zubiaurre, Javier Manjón, Oscar Ferreira da Costa.

ACXT Arquitectos

Project Management Gonzalo Carro. Costs .- Gabriel Bustillo, Fco. Javier Ruiz de Prada, Agurtzane Insa. Structures

.- Miguel Angel Corcuera, Romina González.

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10/09/2015

Salburúa Civic Center

by Gonzalo Carro for ACXT Architects [Vitoria-Gasteiz] Spain. By: metalocus, CLAUDIA CENDOYA. Categories: Architecture, Recommendations

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The new civic center you can enjoy in the Vitoria neighborhood of Salburúa seeks to provide a recreational and sports area where users can interact and meet with the local community. The center, designed by the architect Gonzalo Carro, from the ACXT practice, is surrounded by a green outdoor recreation area. The building contains a very heterogeneus program that distributes the different activities within according to the degree of privacy required. A convergence between the urban image of the building with the functional necessity of organizing activities is therefore made. The ground floor is planned as an open space with great visual communication between the outside and the inside of the building. There is where the social program is hosted: cafeteria, auditorium, sport stands, etc. In the upper two floors, on the contrary, the activities have a greater need for privacy: library, study room, swimming pools, changing rooms, etc. The project plays with transparency, lights and colors to give an identity to each of the rooms that make up the building.

Description of the Project by ACXT The Civic Center is a building that combines sporting, cultural and administrative uses to service the neighborhood Salburua in Vitoria. The project conceives the civic center as a gathering of people to carry out various social, cultural, recreational or sports activities. The program of the building is divided into three levels: - The ground floor has more public uses such as a café, lounge, hall, conference room, etc. - The basement has all sports facilities except for the pool. - The first floor has administrative areas, cultural spaces (library, study room, Infotek and workshops) and the pool with its own dressing room. The floor conveys this concept of diffusion thanks to a glass façade through which you can see what is happening inside, and even across the street, establishing a fusion between urban space and inside the civic center, strengthening its public character. In contrast, the first floor has a less permeable, more abstract language, avoiding the usual human scale,

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CREDITS. DATA SHEET.-

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Project Director.- Juan Luis Geijo (Project), Juan Dávila (Works) Project Architect.- Gonzalo Carro Collaborations.- Maria Robredo, Oscar Ferreira, Javier Manjón, Aintzane Gastelu-Iturri, Daniela Bustamante, Beatriz Pagoaga, Aitziber Olarte (Architects); Juan Luís Geijo, Juan Dávila (Project Management), Juan Dávila (Costs), Unai Mardones (Structures); Camino López, Federíco Reguero (Environmental Engineering); Elena Guezuraga, Susaeta iluminación (Lighting); Beatriz Lorenzo (Public Health Services); Elena Guezuraga (Electrical Engineering & Telecommunications); Beatriz Lorenzo (Fire Strategy); Itziar Ramírez, Arrate López de Maturana, Gorka Arceniaga, Marta García (CAD); Edurne Jiménez de Aberasturi, Emma Luna, Josune Moreno (Administration). Site Supervision.- Gonzalo Carro, María Robredo Construction Execution Management.- Juan Dávila, Sara Barredo Site Managament.- Sara Barredo

tp://www.metalocus.es/content/en/blog/salburúa-civic-center

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Client.- Vitoria-Gasteiz City Council Area.- 12.840 sqm

References METALOCUS: Towada Civic Center Plaza by Kengo Kuma Towncenter St. Martin in Passeier by Andreas Flora. Comarcal Archive and Civic Center in Sant Feliu de Llobregat. Community Centre San Bernabé in Monterrey. Cruces Hospital General Services Building by ACXT Historical Archive of the Basque Country. Links of interest:

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ACXT ArquitectS Photography: Aitor Ortiz Vitoria City Council: Salburúa Civic Center

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Interior communication. Salburúa Civic Center by Gonzalo Carro. Photography © Aitor Ortiz. Click above to see larger image.

Interior communication. SalburĂşa Civic Center by Gonzalo Carro. Photography ÂŠ Aitor Ortiz. Click above to see larger image.

Interior communication. Salburúa Civic Center by Gonzalo Carro. Photography © Aitor Ortiz. Click above to see larger image.

Interior swimming pool. Salburúa Civic Center by Gonzalo Carro. Photography © Aitor Ortiz. Click above to see larger image.

Exterior View of the Swimming Pool. Salburúa Civic Center by Gonzalo Carro. Photography © Aitor Ortiz. Click above to see larger image.

Site plan. Salburúa Civic Center by Gonzalo Carro. Click above to see larger image.

North and South elevations. Salburúa Civic Center by Gonzalo Carro. Image © Aitor Ortiz. Click above to see larger image.

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