Designs we find significant.

067 · Didomestic

067 · Didomestic

Cada casa es un teatro
Reforma de ático, Madrid.
Project for the complete refurbishment of an attic in downtown Madrid
Would you imagine yourself living here? It is not a crazy idea someone had for a video, this is in fact a inhabited house! And, despite the fact that I find it fascinating, it reminds me of that fake piece of architecture news that said Sou Fujimoto had designed a 3m2 house.
Organized with a central core and two side strips hiding those have-to-be elements of a house (kitchen, bathroom, …) allows the rest of the space to be free of obstacles and providing maximum flexibility.
Also there is hidden stuff everywhere as shown in the video. Funny stuff. I can’t picture myself eating in a suspended table, I love seating in weird posses and moving around a lot. Wonder where to food would end up. These fancy little polls that bring up and down secret appliances makes me think of a 1:1 scale doll house, where the ironing board, eating table and beds used to fold and dissapear.
It is and interesting living proposal, maybe we need a little bit more of experimentation in these types of designs. But it sure is a appealing project. 


Architects: elii – Uriel Fogué + Eva Gil + Carlos Palacios.
Team: María Sole Ferragamo, Miguel Galán, Pablo Martín de la Cruz
Client: Dido Fogué
Contractor: Dionisio Torralba Construcciones
Photography: elii (model) Miguel de Guzmán (building) (
Models: elii – Inmaculada Mariscal, Leonor Acero

Sky Pavilion

Photograph from ArchTriumph Facebook Page
Would you like to install a pavilion in Museum Garden, LONDON? What architect wouldn’t….!?
Not impossible, you just have to win the Triumph Pavilion 2015 competition that just opened. Diificult? Maybe. Challenging? Very. But they give you clues
The jury is going to be VERY INTERST in the 5th FAÇADE. The design’s interation with moon, stars, rain,  sun or clouds. With the perception from the top of a tree or from an airplane flying over.
Sounds fun, huh? Who would ever design a space for the contemplation of our biggest roof, the sky. All of it, of course, as sustainable as possible. And remember, this is NOT an idea competition, this WILL be built if selected!!!!
Ready, steasy, GO!
(The link is the Facebook page, since I’ve had trouble trying to enter the official Website)



Photograph credit to: krss
Do you imagine and architects designing his own house? He will probably go crazy trying. But I imagine designing your own museum even harder. 
Well, Tadao Ando has achieved this! He has designed his own concrete museum IN a 100 year history traditional family house. Emptied and filled up with Ando’s concrete impressive technique. Making spaces for photographs, sketches and models to be shown.
I wasn’t able to find any rights free images, but it you google Ando Museum Honmura, which I already did for you, you will see elegant yet massive interiors.

Wuzhen Theater

Amazing pictures that show how beautiful and aesthetic the rough part of the construction phase of a project can be. Of course the monumentality of this project helps create this atmosphere of abandoned ruins, so appealing to me.

However, if you liked this pictures, I don’t think there is much interest in other images the firm shared with the source ( such as renders and so.

Juan Navarro Baldeweg

“Variaciones sobre lo antecedente”
Así se titulaba la conferencia que ha dado esta mañana el catedrático de proyectos de la ETSAM /escuela técnica superior de arquitectura de Madrid/ como inauguración del curso académico 2013-2014 en la ETSAB /escuela técnica superior de arquitectura de Barcelona/
Una conferencia tildada por un ruido de fondo de constante movimiento de estudiantes, como ya viene siendo habitual, y el tono tranquilo de voz de Juan Navarro (a pesar de que se ha ido animando al final).
Debo reconocer que yo no conocía demasiado la obra de este arquitecto/pintor/escultor/crítico, y lo que ha mostrado tenía un estilo muy internacional sin perder el interés por el detalle, a la par que muy humano. 
Juan Navarro Baldeweg. Bilbioteca Hertziana 1996

Los dos proyectos sobre los que se ha comentado son la Bilbioteca Hertziana en Roma (1996) y el Kunsthal Kade en Amersfoort (Holanda) más reciente (2002). Ambos proyectos con un uso interesante e inteligente del vidrio, en el primero como la división con el patio y en el segundo como fachada principal.
Juan Navarro Baldeweg. Kunthal Kade. 2002
Pero a pesar de una explicación más convencional del proyecto, lo realmente interesante, y más personal de esta conferencia ha sido la explicación sobre las primeras impresiones del lugar. Ni fotos ni estudios urbanísticos del lugar en estado actuales son lo que Juan Navarro busca. Cuadros y planos históricos de la área es de donde saca sus sensaciones y atmósferas y le explican que es lo que quiere el lugar, obviamente sin perder este carácter funcional que la arquitectura debe tener.
Cómo a partir de aquellos puntos que los artistas creían necesario destacar y del crecimiento histórico de la ciudad Baldeweg entiende el tipo de proyecto que debe aspirar de crear en ese emplazamiento. Algo que hasta ahora sólo había visto de palabra y nunca materializado en un proyecto construido.
Parece que en esta escuela de Barcelona, el emplazamiento es el origen del proyecto, el germen que le da forma sea cual sea el tejido del que se parte. Algo que, en mi opinión, a veces peca de la generación de preciosos planos de emplazamiento que se limitan a ser explicativos del lugar y no generativos del proyecto. 
Por suerte, y ante mi pesimismo hacía este tema en concreto (la extensión descontrolada de los planos de situación), como ángel caído del cielo, he podido comprobar que, después de darle mil vueltas al tema, y explicar infinitos detalles, se he extraído cuestiones en las que el proyecto de la Biblioteca en Roma se basaban, como la entrada por el patio, es escalonamiento en terrazas de los diferentes niveles se organizaban y el concepto de rechazo a la axialidad, tan típica de la arquitectura romana.

Who said size matters?

I have to admit I am always deeply influenced by the book I read, moreover while I am reading them. I guess I am not an exception, but, when I become passionate about what I am reading I cannot help relating it to new things I see, learn of experience. 
And this is the case of VITRA. I have been learning about Steve Job’s desire for pure design over the last weeks, and I have the impression that if he would have founded a furniture-design business, VITRA would have been it, specially after the announcement of the last project tin collaboration with the Pritzker Prize-winning Renzo Piano. 
This new project, named “Diogene” after Diogenes’ consideration that “worldly luxuries were superfluous”, is a self-contained minimal living space, and it is so minimal it is hard to categorize it as a small building or as a big product. It’s a 2.5 x 3 meters area that tries to give form to Renzo Piano’s minimal housing fascination. Despite the fact that his Workshop deals with huge projects such as “The Shard” in London (2012), or the modern wing of the Art Insitute of Chicago (2009), he still wanted to open a new division that would, for his own interest, research on this topic.
Nevertheless this is not the first time he approached his curiosity, in 1960 while teaching in the Architectural Association of London he decided to design, along with his students, the “Bedford Square”, an also minimal living space. But as time goes by, the interests architects have in this minimal project shift from social considerations as in the 1920’s, to minimalism and structuralism in 1960 (when Renzo Piano first decided to take action and build something that would responds to this matter) and nowadays which may be a more mobile approach (there has been a past post in this Blog that referred to this exact concern).
Diogene is divided in three basic units, the livingroom-bedroom, a bathroom and a minimal kitchen. These three spaces have been reduced to the truly essential, and therefore minimizes the ecological footprint. Also it is a 100% self-sufficient unity that can be placed wherever needed, the buyer can assign this industrially produced building whatever he thinks is the best program. At first glance it is elegant, simple and as pure as it can be, another of the reasons why I can’t help to think about Steve Job’s and John’s Ive obsession with purity in design. But it comes as no surprise when they later explain to you that the purity achieved is charged with a great deal of technology and sophistication. 
As some may have intuit while reading, minimal living space is not the only currently relevant consideration brought up by this little creature. The fact that we keep rethinking that which is enough to live with after these past tough years that have changed many peoples lifes is of special importance in the field of architecture. By changing the space where people live, we can make the world a better place by changing their perception of space, design and basic needs. 
And last but no least, I was gladly impressed by the ability of Renzo Piano and his team no change their gaze from huge projects that may change the perception of a city and, therefore, impact on urban scale, to something so minimal that it applies directly on one individual. There is, in fact, no difference between society and individuals, but it is admirable that we are reminded that no matter what scale the project has, we can still change the people live.


Made in Suisse

Mülimatt Sports Education and Training
Centre in Windisch, Brugg.
Studio Vacchini Architetti
If we did a survey asking where in the world could we find the best architecture, the feedbacks would be very diverse. There is not one correct answer. But, if we changed our question and, instead, asked what country builds better, the answer would be, clearly, Switzerland.
While in most countries, and I include Spain, we still think of concrete prefabricated structures as a bunch of pillars and floor plates put together, very limited. However, these swiss have surprised me again with the simple and compelling solution they proposed for this sports center.
Despite its conventional interior distribution due to the fact that the program for a center of this type is very bounded, the exterior composition it what I find the most interesting, the elegance of the logic of the outer structure. With only two different pieces, a standard vertical frame and a special one for the corners, the facade is created. This repetition creates a rhythmic dynamism adequate both the the typical swiss landscape and t the motion-based activity that takes place in the interior.
Could it get any better?
Images from Detail
related post: PPPHOTOGRAPHY
Looking for inspiration for my own project, I run across with the new Center of Contemporary Art in Cordoba, Spain. Since then, I have become obsessed with it. The apparent simplicity of its exterior formal definition, a box, and the contrast of the interior dynamism gives the project its own identity, a quality I look for in my projects. 

This complexity is borrowed from the islamic culture that used to live in the Southern Spain, having as exceptional example La Alhambra and, moreover, Cordoba’s mosque. They sacrifice personal style over the context’s identity and, its materiality, concrete, and the outer regular form expresses nothing, and by this speechless condition, the polygonal shapes become even more important. 
Not only exist these polygons in a 3d shape in the roof, but also casted in the river-facing facade, allowing the light to come out at night and creating an elegant and attractive view of the building that allows us to perceive this islamic gesture from as strangers to the building.

However, the most compelling and complex part of this design is, in my opinion, the interior articulation of these different sized clusters that can, either stand by their own and be a single programatic piece, or combine and create a unique larger space, each of these different to one another. Main program has already been organized under some of these geometries such as the auditorium, the foyer, the exhibition space, the courtyard and the cafe. Still, despite this distribution, the building is understood as an isotropic element in which spaces can be connected to create a single exhibition area.  

For this design Nieto and Sobejano have been assisted by the artists Leopoldo Ferrán and Augustina Otero.  

pictures from Casabella


“Hoy la situación es inestable. Uno debe intentar hacer como el surfero, que coger la ola cuando viene. Coger bien la ola. Esto está al alcance todo estudiante de arquitectura, pero hay que agudizar y prestar atención a la intuición. Ellos han nacido profesionalmente en esta situación de crisis y, por lo tanto, tienen más posibilidades de desarrollarlo y manejarse bien.”

Josep Camp y Olga Felip

Tres publicaciones es lo que SCALAE _ ArchBIB ha compartido gratuitamente a través de correo electrónicos durante la última semana. Interesantes conversaciones con tres cabezas de estudio, arquitectos radicalmente diferentes en lo que se refiere a su edad, a su práctica y a sus intereses.
El primer número usa la fuerza de un nombre poderoso en el panorama arquitectónica catalán y español como es el de Oriol Bohigas, seguido del estudio formado por Josep Camp y Olga Felip en Gerona y que, a pesar de sólo llevar 10 años de profesión, cosechan premios como si llevasen 25. Por último cierra esta serie la conversación con Josep Ferrando, con sus búsqueda de la expresión. 
Fáciles de leer, amenas y distraídas. Sus formatos con compatibles con iPhones, iPads y eBooks. Así que pocas excusas existen para no leérselas. De ellas se extraen tres visiones diferentes que nos enseñan tres visiones diferentes que, sobre todo a los estudiantes, nos devuelven la mirada a lo que es realmente importante a la arquitectura. 
Para los despistados: no son las entregas finales de junio. 😉