Tania Pacheco Nogueiras

TANIA P NOGUEIRAS

ABOUT CV CONTACT ARCHITECTURE AND URBAN PRACTICE

NEEDLEWORK PATTERN DESIGN AND SITE SENSE OF PLACE HOSTING THE GOLDEN SECTION DESIGNING SPACE

IMAGES01 IMAGES02 CRITICAL THINKING

HOUSE AND STUDIO OZENFANT AND THE THEORY OF LE CORBUSIER THROUGH THE IDEA THE MEANING

THE LINKING NODE

+44 (0) 79 5532 6762 pacheco.tania@outlook.com

Born in Eibar, Basque Country (SPAIN), lives in London.

“The future belongs to those who believe in the beauty of their dreams” Eleanor Roosevelt LANGUAGES SPANISH, ENGLISH, GALEGO(PORTUGUESE), EUSKARA. KNOWLEDGE REVIT,CAD, INDESIGN,3DSMAX STUDIO,PHOTOSHOP,...

EDUCATION ABOUT CV CONTACT

2016-2017 Universidad de A Coruna, Spain. Architecture MArch.

2010-2016 Universidad de A Coruna, Spain. Degree in Architecture.

2007-2009 Maristak-Durango Ikastetxea.

2008-2008 Justus Tranchellgymnasiet, Landskrona.

2005-2005 Guildford College, UK. English Intensive Course.

FESTIVALS Deptford X Fringe 2018 Festival with the project “The linking node” in collaboration with Sora Park.

PROFESSIONAL EXPERIENCE

(Nov 2017- Dec 2018) Customer service Consultant.

SELFRIDGES, London, UK. (Sep 2016-Feb 2017) Architectural intern.

CALCUGAL, A Coruna, SPAIN. -Participating in the architectural design process.

-Creating three-dimensional building information modeling and two-dimensional construction documentation using software.

-Developing computer software skills (Revit, AutoCAD, 3ds Max, Photoshop, Illustrator...).

-Responsable and designer of the project “A place to call home” and “Space for the city” among others.

(Aug 2015-Oct 2015) Architectural intern.

DESARROLLA, A Coruna, SPAIN. - Field verification of project as-built information.

- Assisting in reviewing drawings and specifications for quality assurance.

- Assisting in performing building measurements and verify/correct CAD dimensions.

ARCHITECTURE AND URBAN PRACTICE

NEEDLEWORK PATTERN DESIGN AND SITE SENSE OF PLACE HOSTING THE GOLDEN SECTION

Analysis

Built space

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Empty space

Private space

Public space

Response

Green space

Through a socioeconomic approach the urban activity pretends to be reactivated.

Therefore, the main points which master the movement through the urban space are conected.

D_PLANOS\imagen.

jpg

Thus, the needlework pattern furnishes an unique layer within the analized space.

Organisation plot frame

Pattern of the built space

8,56

2,88

3,64

4

21,69

1,84 4,37

27

40,53

1,04

7,9

5,93

3,65 3,63

d

8,75

1,17 2

12,25 c

16,95

18,66 11,88 5,73

16,84 12,96

14,62

10

3,89

b

6,76

12,21

6,33

33,26 25,94 29,27 21,93 a

2,3

20,52 14,09

6,79

Needlework pattern Location: Paiosaco, Laracha A Coruña, Spain Year: 2017 The proposed developments use a needlework pattern furnishing seamless aesthetic unity to the whole, filtering and blurring the existing urban fabric based on the establishment of a needlework pattern between the urban built environment and the natural surroundings.

“The pattern of the built space” responds to the plot organisation resulting in a “wrap”.

“The pattern of the natural space” is based on the Fibonacci numbers.

Trees spaced 1,61803 metres (Phi number) are grouped on masses of vegetation.

The centre of gravity of these masses are obtained to conclude the needlework pattern.

This process is meant a technique that could be extrapolated to areas with similar characteristics.

1

2

Site plan c

d

b

e h

l

f

i

j

a

g

k

Existing trees

Vegetation groups

Triangulations of the masses of vegetation´s centers

vehículos 12 8 5 3 2 1 1

“The pattern of the natural space” Trough the triangle links obteined from the trees mases the areas with lower density of vegetation are seek following the system of centers that configurate the previous triangle links. Thus, we get the pattern of the natural space.

4.32 0.74

3.03

5.31 10.05 14.79

26.99

19.10 20.35

24.55 24.95

3.89

6.76

14.62 21.93 29.27

1.58

7.20

2.79

15.29

11.35

6.47

6.00 4.92

4.97

10.42

40.69 34.99 28.81

22.00

14.67

7.31

0.60

8.41

7.64

6.48

19.25 25.79 36.06

13.39 6.85

4.75

15.70

12.89

13.23 14.47 17.36

21.27 22.98 11.80 18.31 26.09 23.71

18.71

13.81

8.94

31.61 24.83 19.96 12.89

7.06

15.94

6.51

1.23

31.86

24.13

17.74

16.63

30.13 24.35 12.22 11.38

28.88

18.65

9.72

14.67 7.06

10.54 6.38

6.03

6.00 4.69

5.91

13.04 1.20

14.12

5.01

*3

12.46 19.59

18.17

18.91 20.87

2.99

2.15

22.54 24.54

29.94 9.38

32.49 16.35

34.45

3.78

5.73

24.27

38.30

0.55

9.69 23.94

8.83

14.12 21.82

11.95

6.83

31.60 4.23

19.98 17.97

2.16 10.01 8.80

4.84

5.88

3.63

3.04

9.66 15.94 22.23 28.52 34.80

4.52

6.36

Based on the Fibonacci numbers where every number after the first two is the sum of the two preceding ones; trees spaced 1,61803 metres (Phi number) aproaching the “divine section”, “the golden ratio” are grouped on masses of vegetation.

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From the pattern of the natural space the natural elements are organized and distributed such as lighting, water drain, urban furniture ...; an accuracy in the order to establish a relationship between the existing and the projected nature.

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Axonometric view

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6

Site plan

cota:+6,40 m

cota:+3,20 m cota:+0,00 m

cota:+10,90 m

cota:+0,00 m

cota:+3,20 m

cota:+10,90 m

Design and site Location: A CoruĂąa, Spain Year: 2016 An intervention takes place,knowing the place.

The Tower of Hercules is the central axis that structures the building programme.

The building is composed of three levels differentiated by the intensity of use : high, medium and moderate from the ground to top.

The first level is linked to the Tower axis. The main route takes us to the second floor and the top overlooking the sea and the Tower.

0

7

125 m

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Basement

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9

idea

Groundfloor sections

75 m

0

37.5 m

10

Axonometric view construction

Main elements scheme construction

0

25 m

moderate

medium

high

The intensity of use 11

0

25 m

12

Site plan 17

Pte 2.5%

2%

2%

2%

2%

Pte 2.5%

+ 34.00

+ 35.00

LEYENDA 1. pieza prefabricada de granito color gris de 20x60x10.

2. junta de 20cm de tierra vegetal.

3. riego automático Ø15mm.

4. perfil de acero galvanizado 20x3x8cm.

A1 5. base de arena de e=4cm.

6. terreno compactado e=40cm.

7. baldosa de hormigón de e=5cm y dimensiones: 500x500, 500x250, 500x125.

8. base de arena e=1,5cm.

9. arena de agarre e=1,5cm.

10. clinker e=8cm.

11. mezcla bituminosa en caliente B-BTM 11B 8M-3C e=3cm.

12. riego de adherencia ECR-2-M. 13. mezcla bituminosa en caliente AC22 bin.

14. riego de adherencia ECR-1.

15. riego de imprimación.

16. base compacta e=35cm.

17. canal de desagüe oculto.

18. alcorque de Ø3m, de acero cortén.

Pte 2.5%

+ 32.00

A

2%

A1

1

2

VER PLANTA DETALLE 1

DETALLE PLANTA

escala 1:20 cotas en mm

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2 3 4 5 6

100

B1

40

Pte 2.5% Pte 2.5%

Pte 2.5% Pte 2.5%

+ 35.00

2%

17

2%

2% 2%

8

9

10

17

7

18

2%

8

400

9

10

DETALLE SECCIÓN B1-B1

escala 1:20 cotas en mm

2

2%

VER PLANTA DETALLE 1

2%

+ 33.00

+ 34.00

PLANTA DETALLE 1 escala 1:200 7

A

2%

4

5

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8 9 10

50 30 80

SECCIÓN A-A escala 1:40

VER PLANTA DETALLE 2

DETALLE SECCIÓN B2-B2

escala 1:20 cotas en mm

11 12 13 14 15

16

30 120

18 130

2%

17

2% Pte 2.5%

Pte 2.5%

75

2%

350 150

Pte 2.5%

VER PLANTA DETALLE 2

DETALLE SECCIÓN B3-B3

+ 35.00

DETALLE 17.CANAL DE DESAGÜE OCULTO

escala 1:20 cotas en mm

escala 1:20 cotas en mm

B2

+ 34.00 PLANTA DETALLE 2 escala 1:200

1000

18

2%

Pte 2.5%

+ 36.00 B3

2%

2% 2%

proyecto de intervención urbanística-Agra de San Amaro·Monte Alto rodríguez álvarez jorge· tutor

escala en los dibujos PACHECO NOGUEIRAS TANIA.

SECCIONES DE NUEVAS VÍAS

N

2015.2016

urbanismo5

0.4

plano

Sense of place Location: A Coruña, Spain Year: 2016 A distinct sense of place, that can be travelled, a site to be inhabited ,to rest and admire the surroundings.

A place where colour is the protagonist: facades, street furniture and the nature.

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0

75 m

14

Elevation

15

16

Main elements scheme construction

ROOF gravel protective film impermeable membrane MDF board wooden beam thermal insulation MDF board

FLOOR MDF board wooden beam thermal insulation MDF board

Hosting the Golden Section

FACADE MDF board wooden strip thermal insulation MDF board impermeable membrane MDF board

Year: 2016 A research center that is composed of pieces that depart from the golden section.

The piece are added to configure the space 17

0

5m

18

Elevation plans axonometric views

Constructive process union system

0

19

1.5 m

20

DESIGNING SPACE

A PLACE TO CALL HOME SPACE FOR THE CITY

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CRITICAL THINKING

HOUSE AND STUDIO OZENFANT AND THE THEORY OF LE CORBUSIER

01

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House and studio ozenfant and the theory of Le Corbusier

Applicant name: Tania Pacheco Nogueiras architecture and urbanism practice applied for: We Made That

contact

07955326762 pacheco.tania.91@gmail.com

“Thanks to you I have learned how to paint.

With my paintings I have found the architectural forms”1 Le Corbusier

By 1922, when Ozenfant realized that Le Corbusier was truly imbued with his own style, he commissioned the project for a house and studio.

The smallholding of the project is situated on a corner plot, on Avenue Reille, Paris; with an access by the limit that gives to the secondary street.

Likewise, the location of the property is completely delimited by the adjoining buildings.

To locate ourselves in time and place, we must know that at that time Paris was an emblematic example of a city of the nineteenth century, which had grown like a tree, with progressive rings.

A large axis of east-west and north-south make up the great cross of Paris. enfant house and studio, which would not have been conceived without the encounter favored by Perret. A vanguard that responds to “Aprés le cubisme” (1918) written by Le Corbusier (architect) and Ozenfant (painter). The use of a language that in addition to painting covers all forms of plastic expression, including architecture.

Keywords: Purism, house and studio, Perret, “Aprés le cubisme”, painting, architecture.

Amédée Ozenfant

INTRODUCTION:THE ENCOUNTER WITH OZENFANT, AND CONFRONTATION WITH PERRET

The first performance of Eric Satie’s3 “Parade” propitiated a meeting between Le Corbusier and Onzenfant4 which took place in Auguste Perret´s5 house where Perret organized a meal for the members of the group “Art et Liberté”.

Thereafter Le Corbusier developed an interest in painting.

Abstract: Purism explores Le Corbusier’s creative ability to conceive of the Oz-

“to desigh a House and Studio for me you, you have to study and understand purism”2

In contrast to Le Corbusier’s house and studio, Auguste Perret projects a house on a corner plot on the same street as Le Corbusier. An antagonism is perceived between the buildings of both architects, resulting in two different building typologies with an ideology adjusted to each author.

That is why a figurative comparison is made, where it´s possible to see the results of both projects created a few meters by the two most emblematic modern architects of Paris those days.

The house and studio for Ozenfant and the house that Perret designed for the art collector Pierre Gaut, who would have requested the services of Le Corbusier at first, attracted by the series dwellings of “l’espirit nouveau”; Requesting a housing “citroen”; but that finally he transferred his commission to Perret; who designs a simple but elegant house, which provided ample spaces.

The similarities between the houses that both architects project are the following: treatment of the corner, passable cover and white plaster of facade.

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Geometry will solve the problems of this architecture presented here, I will solve your doubts, observe the result 6 ...

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figure 1. The acces to the attic

Le Corbusier

GOING

INTO

DETAIL

ABOUT

THE

HOUSE

The house and studio for Ozenfant had a different aesthetic, its own. His rational and functional conception allowed him an opportunity to implement the new relations between the neighbors that Le Corbusier had tried in the citrohan house, where housing and workshop are incorporated as a new building typology of the modern era.

Three levels are distinguished, although from the outside it seems there are four, due to the double height of the last plant.

The ground floor at street level is occupied by the garage and the service housing.

The spiral staircase located on one of the sides is the one that marks the entrance to the house, a rolled ribbon that shows the ascending path and stands out for its plastic design in the rigidity of the volumetric design.

The entrance to the hall of the first level allows to enter the house of the painter, accompanied by a large living room and dining room, in addition to the corresponding basic wet spaces.

From this level it´s possible to access directly to the study, therefore there is a full division between the house and studio space and the service or secondary uses, separated simply by an external staircase.

AND

STUDIO

Therefore it is established an independence of functions in the three levels.

Nevertheless, we do not want evidence that Le Corbusier was classist, on the contrary he gives importance to the service, since they have half the low level for their home.

The glass and the lights on the roof in sawtooth evoked the triple meaning of “atelier” in French: studio of artist, workshop and factory. This hybrid, quasi-industrial dialect noted not simply the interests of Le Corbusier but his own resident.

The studio located on the upper level is illuminated by a smoked glass ceiling, which allows filtering the light entering through the faces of the saw teeth, a cover that was later replaced by another flat one. This level from the outside is displayed as another plant.

Due to the obvious illumination of the study, Le Corbusier projects stays in the upper half of that space to create quieter environments where Ozenfant can work without that direct light.

The access ladder to the attic stands out as a more important element even than the access to the house itself.

When we take a look at that staircase, protagonist in the space of the workshop, it immediately leads us to think of sea, water, movement, transport, ship ... Evocation of the steam engine.

Le Corbusier wants the “studio” with all the architectural burden, that is why he photographed it with nothing and nobody, getting an image of the virtually virgin space. With this portrait he intends to tell us the whole project, he venerates that the image is observed and the whole work is understood.

In order to achieve this effect on the spectator, the importance of the furniture is impaired, and therefore he longs to portray a perfect space as an integral architectural work.

figure 2. The house and studio facade

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Beauty exists when there is an intention and means proportioned to it. The proportion costs nothing to the owner, only to the architect. The heart is moved when reason is satisfied, and this happens when things are calculated 7 figure 3. The manifest “Aprés le cubisme Le Corbusier

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figure 4. The large colour scale

INFLUENCES

This phrase written by Le Corbusier in “towards an architecture” indicates the importance of the presence that the golden ratio has for him at the time of projecting. His facades are not a mere product of chance but are designed with a mathematical order.

On the one hand we can observe the influence of classical architecture, in proportion, mathematics and beauty in the composition. On the other hand is also influenced by his teacher Perret.

The house and studio Ozenfant was conceived from the Purism, a movement that is realized thanks to the collaboration with the own client of the house, Amedée Ozenfant.

The encounter that takes place between both of them propitiates a fusion able to modify the ideas that until then were present. From that meeting was born “Aprés le cubisme” (1918), written that will lay the foundations of the Purist Vanguard and establishes the origin of modern art, and purism is posed based on a critical analysis.

They propose a new form of art, supra aesthetic, where artistic problems are solved differently and acquire a new attitude to face modern life.

This text makes a positive assessment of Cubism, which highlights the plastic aspects over the descriptive ones, and also tries to overcome the negative aspects that this movement suggests.

Later they founded the magazine L’espirit nouveau (1920) where they will spread the ideas about painting and architecture that had acquired consistency and clarity. This magazine is a reflection of the confluence of ideas between both.

This book promotes the concept of modern architecture and has been an enormous mark in the architect’s profession, acting as a generational manifesto.

Purism (1914-1923): an exotic avant-garde that elaborates a new aesthetic system based on reflection on painting.

It begins as a criticism of Cubism and acquires a vanguard character. We seek the restoration of healthy art, advocating a clear and precise representation, inspired by the purity and beauty found in the machine and following classic harmonies aimed at happiness.

This movement tries to organize the ideas of Cubism, extracting everything subjective to create the new aesthetic system.

The term purism was chosen by Ozenfan and Le Corbusier, for suggesting clarity and rigor.

Purism synthesizes ideas and proposes concrete proposals for pictorial creation, which would not have been possible without the interest in the painting that aroused in Le Corbusier, his friend, then, Ozenfant.

From type elements that are related through a series of mechanisms and tracings, the purist picture is composed, and it is in that relationship and choice of elements where the whole creation of Purism resides.

It is intended to be a language that in addition to painting encompasses all forms of plastic expression, including architecture.

A rationalist theory that advocates the mastery of color without extracting its subjective meanings.

They treat color as an agent that can vary according to its use, so it must be controlled and respond to a hierarchy, so Le Corbusier and Ozenfant distribute them in three color scales: Large scale: ocher, red, earth, white, black, navy blue.

Dynamic scale: lemon yellow, oranges, vermilion.

Transition scale: emerald green, others.

Being those of the first scale the colors that would use more Le Corbusier, strongly linked to the house and studio of Ozenfant.

figure 5. Nature morte à le pile d’assiettes.

Le Corbusier, 1920

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figure 6. The exterior of the house and studio

CONCLUSIONS:

COMPLEXITY

AND

figure 7. The interior of the house and studio

CONTRADICTION

The existing duality between the exterior and the interior becomes physical reality in the image obtained on the outside that advocates a clear representation under the premises of the machine and an inner part where purism is clearly reflected. The façade of the house and studio responds to mechanization as a crucial element. Large planes of glass where the alliance between the art and the machine is captured, these are standard elements of design produced in series.

In an inner image we can see the duality with the external image, where Le Corbusier himself makes clear Purism, based mainly on the use of basic forms, stripped of superfluous elements, seeking aesthetic harmony through the use of the golden section. What externally manifests as a cogged cover, inside is concealed with a flat slab in the ceiling to achieve this purist image in a clear and concise way.

Architecture of planes and clear image in the interior part with the inheritance of the glazed cloths in the same that conciliate the entrance of light with the cover sawn with glasses in the outside.

A purism that seeks the specific image in each space.

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IN

THE

ARCHITECTURAL

FORM

Le Corbusier conceived the house from the Purism and also the works that Ozenfant exhibits in the house will be of that same vanguard. While using the principles of purism to project the painter’s house, he will also use the colors he produces for the different color scales with Ozenfant. In this way a color integration between the works exposed by the painter and the interior treatment of the house is obtained.

In turn, we find many similarities regarding Le Corbusier and Ozenfant’s theories on color tones, mainly the dominance of blues and blacks, belonging to the larger scale they propose on colors, which must be employed in architecture and painting, as they will be subjected to a rigorous personal and rational order.

NOTES AND REFERENCES

1 2 3 4 5

(Lleó, 1997) (Lleó, 1997) a French composer and pianist.

(Lowman, 1981)

(1874-1954) a French architect, one of

the pioneers of the architectural use

of reinforced concrete, a Master for Le Corbusier

6 7

(Lleó, 1997)

(Le Corbusier and Martínez Alinari,

1998)

BIBLIOGRAPHY

Le Corbusier and Martínez Alinari, J. (1998). Hacia una arquitectura. Barcelona: Apóstrofe.

Lleó, B. (1997). Dos esquinas y una polémica. Circo, 41 La cadena de cristal, pp.1-12.

Lowman, J. (1981). Le Corbusier 1900 1925 : THE YEARS OF TRANSITION. Ph.D. degree. University of London.

THROUGH THE IDEA THE MEANING

“THE LINKING NODE” https://deptfordx.org/Sora-Park-Tania-Pacheco

THE CONCEPT

Deptford Highstreet is a place where the history of immigration has accumulated. The food industry and local businesses in Deptford Highstreet strongly reflect both its history and its current way of life. Over the past decades, Deptford has undergone a transformation through urban planning and regeneration, implemented by integrating the district’s history with its contemporaneity. In this project, we analyse the open-public spaces and the food cultures in Deptford Highstreet through the architecture analysis method that frames those spaces, and then present a cement sculpture symbolizing our analysis at one of the discount stores in the district, Terry’s Discount.

In the development of our artistic proposal, we proceeded to analyse the formal and functional aspects by examining the order, the scale, and the relations of the study area and its linked places. Our analysis has shown the squares to be articulating nodes of the public space and Deptford High street to be a catalyst for the market and for urban cultural development. The analysis allows opening intervention channels on the placement of the sculpture.

In order to establish a relationship in equilibrium within the market place, we connect the articulating nodes of the area by their gravitational centres, resulting in a triangle. We subsequently measure the bisectors of this triangle and thus obtain the two points where each bisector meets the catalytic axis.

We then select the union of the triangle’s centre as the nucleus of the project. Coincidently, Terry’s Discount, a store selling discount items is present in the private space at that nucleus.

This placement integrates our project into one of the stores dedicated to global products, reflecting the coexistence and integration in the multicultural environment on Deptford High Street and celebrating its diversity.

SORA PARK & TANIA PACHECO 2018. 07. 17

ANALIZED SPACE

PUBLIC OPEN SPACE

PUBLIC SPACE MARKET

PRIVATE SPACE

“THE LINKING NODE” https://deptfordx.org/Sora-Park-Tania-Pacheco

The linking node covers the cultural diversity manifested in the stores and restaurants of local products from different parts of the world is integrated into one of the few stores dedicated to global products.

A reflection of the coexistence and integration of a multicultural environment.