jose maria sanchez architects

jose maría sánchez garcíaA R C H I T E C T U R E O F F I C E - w w w . j m s g . e s

The studio was born in 2006 in order to develop public projects commissioned through architectural competitions. Those projects have been awarded with the following inter-national and national awards:

AWARDS:

BSI Swiss Architectural AwardFirst Prize in AR+D Architectural Review Award for Emerging Architecture 2009 at RIBA, London.Short listed in The European Union Prize for Contemporary Architecture - MIES VAN DER ROHE AWARD 2013First Prize in Architectural Record’s Design Vanguard 2009, New York, nomination among the ten upcoming international studios.Selected in The European Union Prize for Contemporary Architecture - MIES VAN DER ROHE AWARD 2013.Awarded as one of the best seven international emerging offices by the University ETH Zurich, 2011.Finalist X Prizes Contractworld 2010 Hannover.Select Zumtobel Group Award 2012, Berlin, GermanySelect for the VII Iberoamerican Biennial of Architecture and Urbanism.Awarded in IX European prize for architecture and rehabilitation Philippe Rotthier 2011, Belgium.Awarded in AR+D Architectural Review Award for Emerging Architecture (Runner-up) 2011 at RIBA, London.

First Prize in Young Architecture 11th Biennial of Spanish Architecture.First Prize of the V Nan Architecture and Construction Award 2011 Barcelona.Select for the11th Biennial of Spanish Architecture. Second Prize, special Mention in FAD 2010 prizes.Select for the10th Biennial of Spanish Architecture.Winner of a Mention at the10th Biennial of Spanish Architecture.Finalist of the 2011 ENOR Prize for Architecture.First prize in the Napisa Prizes 2008_09.First prize of the 2008 ENOR Prize for Young Architecture.First prize in Veteco 2009 Prizes.Second prize Ateg 2010 Prizes. Winner of a Special mention in Arquia-Proxima 2010.First Prize A+award (Grupo Via). Awarded as the best emerging office in Spain 2012Finalist AD Award. Architect of the year in 2012 and 2013

Our works have been published in many national and international magazines such as:Detail, Atlas Phaidon, Casabella, La Vie, Architectural Review, A+U, Space, Azure, Area, Architectural Record’s, Architekture Aktueal, Jiatu, Ina Ifengspace, 2G, AV mono-grafías, Arquitectura Viva, Future, On diseño, Oris, Architecture interieure CREE, Icon, Index, Nan, Paisajismo, Esquire, Pasajes, El País Semanal, El Cultural El Mundo, ABC Cultural, Expansión El País, La Vanguardia, La Voz de Galicia...

http://www.josemariasanchezgarcia.blogspot.com.es/

http://www.jmsg.es/

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blog

PRINCESA ST 27 / 15-3 // 28008 // MADRID // SPAINTlf.: +34 915231885 [email protected]

jose maría sánchez garcía w w w . j m s g . e s

INTERNATIONAL CENTER FOR SPORTS INNOVATION IN THE NATURAL ENVIRONMENT “THE RING”CACERES, SPAIN FIRST PRIZE INTERNATIONAL COMPETITION

PROTOTYPE EXHIBITION PAVILION. INTERNATIONAL IMAGE OF EXTREMADURA

ROWING CENTRE IN ALANGEALANGE, SPAIN FIRST PRIZE INTERNATIONAL COMPETITION

ROMAN TEMPLE OF DIANA ENVIRONMENTS IN MERIDA MERIDA, SPAIN FIRST PRIZE INTERNATIONAL COMPETITION

SPACE OF YOUNG CREATION IN VILLANUEVA DE LA SERENAVILLANUEVA DE LA SERENA, SPAIN

HOTEL IN LUNA MEDIEVAL CASTEL IN ALBURQUERQUEALBURQUERQUE, SPAINUNDER CONSTRUCTION

PRONAT OFFICES. OFFICES FOR AN AGRICULTURAL INDUSTRYDON BENITO, SPAIN

ADAPTATION OF THE SAN JUAN DE DIOS CONVENT IN A HOTEL OLIVENZA, SPAIN FIRST PRIZE COMPETITION, UNDER CONSTRUCTION

INTERNATIONAL COMPETITION IN CHILE TO BUILT AN EMERGENCY INTERVENTION PUERTO SAAVEDRA, CHILE FIRST PRIZE COMPETITION, UNDER CONSTRUCTION

INTERNATIONAL COMPETITION PIENSA SOLMADRID, SPAINSPETIAL MENTION

RESTORATION OF A FEDERAL BUILDING, NEW EUROPEAN CULTURE CENTRE //CIRCE// LA CORUÑA, SPAIN FINALIST INTERNATIONAL COMPETITION

INDEXPortfolio

EUROPAN 10 HOUSING COMPETITIONENTRONCAMENTO, PORTUGAL SECOND PRIZE COMPETITION

FAIR BUILDING IN ALCAZAR DE SAN JUAN, CIUDAD REALALCAZAR DE SAN JUAN, SPAIN FINALIST SELECTED

BRIDGE IN MARIBOR. EUROPEAN CAPITAL OF CULTURE 2012MARIBOR, SLOVENIATHIRD PRIZE INTERNATIONAL COMPETITION

OPEN AIR MUSEUM IN GLENTLEITEN, INTERNATIONAL COMPETITIONGLENTLEITEN, SOUTH BAVARIA, GERMANY FINALIST SELECTED

HOUSING COMPETITION. EMVS 150 DWELLINGS IN MADRIDMADRID, SPAIN SECOND PRICE COMPETITION

IFEMA, MADRID

PASSENGER SERVICE CENTER PORT OF KINMEN, TAIWANTHIRD PRIZE INTERNATIONAL COMPETITION

VILLA DE MEDIOS MADRID 2016 OLYMPIC GAMESMADRIDSECOND PRIZE COMPETITION

COMPETITION

SPORTS HEADQUARTERS OLYMPIC GAMES MADRID 2016MADRIDSECOND PRIZE COMPETITION

EUROPAN 12 HOUSING COMPETITIONVENICE, ITALY PRIZE COMPETITION

EUROPAN 11 HOUSING COMPETITION MONTHEY, SWITZERLAND SECOND PRIZE COMPETITION

http://www.youtube.com/watch?v=9dFdLuj841U

"Porque no sólo jugamos bien al fútbol, apoyemos todo lo que hacemos bien".

#nosolojugamosbienalfutbol

INTERNATIONAL CENTER FOR SPORTS INNOVATION IN THE NATU-RAL ENVIRONMENT “THE RING”

FIRST PRIZE BSI SWISS ARCHITECTURAL AWARD

FIRST PRIZE AR+D ARCHITECTURE REVIEW AWARDS FOR EMERGING ARCHITECTURE 2009 RIBA, LONDON

FIRST PRIZE ARCHITECTURAL RECORD’S DESIGN VANGUARD 2009 NEW YORK

SPECIAL MENTION FAD 2010 ARCHITECTURAL AWARD. BARCELONA, SPAIN

FINALIST X CONTRACTWORLD AWARD 2009, HANNOVER, GERMANY

SHORT LISTED VII BIAU. IBEROAMERICAN BIENNIAL OF ARCHITECTURE AND URBANISM 2010

MENTION X BIENNIAL SPANISH YOUNG ARCHITECTURE AND URBANISM 2009

FIRST PRIZE A+AWARD (GRUPO VIA). GRAND PRIZE FOR THE MOST PROMISING

TEAM OF YOUNG ARCHITECTS IN SPAIN 2012

FIRST PRIZE IV ENOR ARCHITECTURE AWARD 2009

FIRST PRIZE INTERNATIONAL VETECO-ASEFAVE AWARDS 2010

SECOND PRIZE ATEG AWARDS 2010

FIRST PRIZE NAPISA AWARD. BEST BUILDING 2008-09

SHORT LISTED THE GLOBAL OBSERVATORY. ETH ZURICH 2011

FINALIST FAD 2010 ARCHITECTURAL AWARD. BARCELONA, SPAIN

FINALIST X BIENNIAL SPANISH YOUNG ARCHITECTURE AND URBANISM 2009

FINALIST IV ENOR ARCHITECTURE AWARD 2009

FINALIST ARQUIA/PROXIMA AWARD 2009-2010

SPECIAL MENTION ARQUIA/PROXIMA AWARD 2010

SHORT LISTED ZUMTOBEL GROUP AWARD 2012, BERLIN, GERMANY 2012

CACERES, SPAIN FIRST PRIZE INTERNATIONAL COMPETITION The project develops a program of technical sports centre (R & D) about sports related to nature. The site lies on a thickly wooded peninsula in the Gabriel y Galán reservoir in Cáceres. The place is subject to periodic variation of the water level. Therefore, the location of the building is set from a certain height.

The integration of the project in the environment takes place primarily through two strategies: scale and materialization.

The program, about 6,000 m2, stretches becoming a circular structure of 630 meters. This achieves that the building is always perceived in a partial way. A fragment explains the build-ing, but the only way to see the whole of it, is from above. The excessive scale dilutes the project in the environment. In addition, the building becomes an artefact. It is materialized by a system of dry construction with assembled parts. It is integrated into the landscape by contrast.

Moreover, the building rises from the ground without changing the topography. Thus, the impact on the place is almost null. Contact points are reduced to a minimum, establishing a single high level over the ground. Its alien character to environment is underlined while establishing a varied and complex spatial relationship with the topography. The elevation of the pillars varies from 1 to 4.50 meters.

The strategy followed is to collect the program in a single structure. Using a circular geometry, we place the program as close as possible to the water border. The project is located in a seven meters span. The program is distributed as separate modules that are hosted together between the two ring planes.

The continuous facade is altered by opening holes at irregular intervals. These empties divide the program areas and allow the communication by elements, both vertically and horizontally. The modules, called work-places, face the water and appropriate the adjacent land. Having its own access to water allows developing sport activities independently. The independent program generates diagonal relationships between them, making unnecessary an internal cir-culation in the ring. The ring is which organizes the complex.

We use local both techniques and building systems. All the construction is based on stand-ardized and prefabricated steel profiles similar to traditional constructions from farms and small local industry.

Like giant pieces of meccano, the steel components were brought into the site and simply and rapidly put together. The execution time of the work was six months. The work is best understood as an assembly of pieces than like an ordinary construction. This was achieved through a systematization and standardization of building systems throughout the project. Because of its size, the circular structure could be solved by standardized straight elements; there is no curve in the project.

Stainless steel cladding panels of the facade have a certain angle. These gills give a cha-meleon-like feature that allows the change of the image of the building throughout the day reflecting different sheens and hues.

AWARDS

landscape

geometry

construction

ROMAN TEMPLE OF DIANA ENVIRONMENTS IN MERIDA MERIDA, SPAIN FIRST PRIZE INTERNATIONAL COMPETITION

AWARDS

WORLD HERITAGE SITE BY UNESCO


SHORT LISTED MIES VAN DER ROHE PRIZE 2013.

EUROPEAN UNION PRIZE FOR CONTEMPORARY ARCHITECTURE

AWARDED IX EUROPEAN PRIZE FOR ARCHITECTURE PHILIPPE ROTTHIER 2011 BELGIUM


FIRST PRIZE A+AWARD (GRUPO VIA). GRAND PRIZE FOR THE MOST PROMISING TEAM OF YOUNG ARCHITECTS IN SPAIN 2012

FIRST PRIZE V NAN ARCHITECTURE AND CONSTRUCTION AWARDS 2011

SHORT LISTED THE GLOBAL OBSERVATORY. ETH ZÜRICH 2011

FINALIST ARQUIA/PROXIMA AWARD 2008

The project recovers the environment of Roman Temple of Diana, which was old forum and center of the Roman city.

Acting in a place with that important historical and archaeological load was a chal-lenge that has meant working, from the beginning, both with existing traces and with those traces that existed in Roman times. We believe those traces are still valid al-though they are not entirely recognizable. Thus, the work answers two historical peri-ods separate by nearly 2,000 years and gets a space from Roman times which always served as the framework to the temple of Diana. In turn, using contemporary language, we incorporate those social and cultural needs from nowadays. It allows keeping this new civic center alive and full of uses.

Together with a team of archaeologists, we defined the working rules and guidelines getting to a project syntax. This language is able to assume all the irregularities and modifications from archaeological discoveries. These guidelines create an open sys-tem that can develop through time.

To recover the downtown in Roman Age, the perimeter structure places in the edges of the site, as far as possible from the temple, obtaining the maximum void. Thus, the Ro-man void is recovered respecting the Roman archaeological features that constituted the ancient sacred space: the temple, the side ponds and the cryptoporticus, now incorporated into the plaza. The project solves with a perimeter piece in L-shape which sews city edges. A great square around the temple is liberated. This L-section comes from the union of a platform and a vertical screen. The platform is located at a similar height to the podium of the temple and allows a new relationship visitor-temple. The structural screen puts on value the temple and frames it. The space in between the perimeter piece and the city is occupied by a series of volumes which host future uses.

Thus, the project, more than a building, is a raised platform. It is a structure capable of generate a new layer of city full of program. In addition, it gives a long shadow over the square.

The structure cannot work by isolated parts. The action of the cantilever, of up to 5 m. span, is balanced by the weight of the volumes that rely on the perimeter wall. These volumes act as a counterweight. The foundation is based micro-piles as respectful as possible with the archaeological remains of the place. Therefore, we dispose the minimum number of columns to minimize the contact with the floor of the building.

The piece in L is understood as an artificial stone. It is a white concrete similar to the granite from the temple´s podium. The executions, the detailing of formwork or dos-ages have been carefully studied to get the finished searched. The square ground is done with soil, as it was originally.

environments

geometry

construction

ROWING PAVILIONALANGE, SPAIN FIRST PRIZE INTERNATIONAL COMPETITION

The Rowing Pavilion is located across the water reservoir of Alange. It is configured as a large concrete base with a light structure over it. This cover is constructed by steel trusses that release, in its lower part, the main room of the project: an open space with flexible use of 21x21m.

To respect the landscape -of great environmental value- is one of the main strategies of the project.

The building height is controlled. The project is embedded into the ground to avoid interrupting the visual connection between the village and the water. The construction is extremely respectful with its environment.

The boundary of the project plan is determined by the site. The legislation forced to respect the alignment of the site, leading to a floor plan with an irregular and complex geometry. To resolve this geometry we define a central space as a 21x21m square where the main program is developed. Its dimension is given by the turning radius necessary to operate with canoes. It is a multipurpose space where different programs such as lessons, training or public events take place.

The secondary program is established in the interstitial space between the main hall and the edge of the building. On these perimeter spaces, result of the irregular geom-etry given by the site, are placed bedrooms, gym, dressing rooms and offices.

The section solves the slope existing on the site and allows the development of two separate entrances. The main access is done through the access ramp. The secondary one, for boats, is situated downstairs. A large hole allows light into the building and hosts the slender ramp hung by wire which connects the lower level with the terrace. This ramp acquires a principal character in the building.

We use local both techniques and building systems. All the construction is based on standardized and prefabricated steel profiles similar to traditional constructions from farms and small local industry.

The structure by itself generates the image of the building. The building becomes a delicate industrial building that shows the activity generated inside.

For this reason, we place special emphasis on the cutting and assembly of parts to achieve high quality construction; this is one of the arguments of the project. The materials are assembled in a simple way, uncoated and emphasizing the technique.

The transparency of the structure becomes the access floor in a large shaded pavilion, without any obstacles to admire the scenery. The perimeter grandstand, excavated over the border base, avoids placing a conventional railing. It allows contemplating rowing competitions, achieving a visual continuity with the landscape.

AWARDS


FIRST PRIZE XI BIENNIAL SPANISH YOUNG ARCHITECTURE AND URBANISM 2011

AWARDED AR+D ARCHITECTURE REVIEW AWARDS FOR EMERGING ARCHITECTURE 2011 RIBA LONDRES (RUNNER –UP)



FINALIST V ENOR ARCHITECTURE AWARD 2011


FINALIST XI BIENNIAL SPANISH YOUNG ARCHITECTURE AND URBANISM 2011

landscape

geometry

construction

SPACE OF YOUNG CREATION IN VILLANUEVA DE LA SERENA



FINALIST JAE. YOUNG SPANISH ARCHITECTES. MADRID, SPAIN 2008FINALIST ARQUIA/PROXIMA AWARD 2006 - 2007 SHORT LISTED THE GLOBAL OBSERVATORY. ETH ZÜRICH 2011

VILLANUEVA DE LA SERENA, SPAIN

... Dwarfing water (or how a warehouse turns into space of young creation) *

A water tank. A hermetic, dark water tank, without doors. A water tank with walls of three meters and a half wide where was nobody. Only water.

After emptying it...

We decide to open holes. The first hole to enter. And once inside, we did more holes. As many as we needed. We made holes in the walls to pass from a site to other one, in the vaults to have light and to see how the place was, we even made holes to go up to the cover.From the cover we look inside a hole and we saw...

A place to do cinema, to play music, place to paint, a place for theatre, with computers and mixing desk to record, a place with an oven to cook ceramics, to reveal photogra-phy, to do exhibitions, a place with books and guitars, to see movies, a place to teach and especially, a place to learn.

INTERVENTION STRATEGY:

The old water tank was composed by two large reservoirs, divided from each other by a thick wall and an octagonal tower.

We clean and rehabilitate respecting the structure and morphology of the original building itself. The attached tower contains the program, inside a large cylinder. Thus, we achieve a new spatial configuration capable of meeting the needs of the program emphasizing the flexibility of the space.

The Space of Young Creation adapts creating holes the original space which was de-signed to hold water. The vaults are pierced to get good natural lighting of interior space and the wall between the reservoirs is punched in four points in order to create connections and necessary communications between spaces. For proper circulation four circular steps between them are created.

Thus, we get a open, bright and limed space. This space can be divided into differ-ent classrooms by curtains. Services and fixed program like toilets, recording booth, photo lab, data center and facilities are concentrated in a cylinder inside the tower.

AWARDS

IFEMA, MADRID

The general idea is to expose every objects ordered and exhibited without its packag-ing. The product will be shown at 1.1 meters high. At this heigh the product is easily touched, smelled, seen and manipulated.

STAND´S VANISHING

The main strategy to design and compose is to show the product value. To empha-size the product the secondary surrounding objects dissappear, showing it as direct as possible. This is the reason why we do not use opaque materials. We only use transparent ones. The geometry of the main exhibition elements is cylindrical. This geometry gives us a smooth boundary and avoid the presence of corners. Stand is composed just by products (physical and virtual) and people.

ZONING THE PRODUCT BY DENSITY. COMPLEMENTARY PRODUCTS.

The product is distributed according its qualities. Thus the products generate spaces where value is placed on the colors, flavors, aromas and textures for contrast or range. The density of the exhibition gives the product relevance and creates space. The Stand is materialized with the arrival of the product, WHICH UPON EXPOSURE modifies the image stand.

REPEATING ELEMENTS WITH THE SAME SHAPE AND SIZE.

Exhibitors elements are always the same size and have the same shape and usually will be located at the same height. Repeating the same support makes stand out the exposed product. Similar containers to different products show us the differences or similarities between the same product by comparison.

VARIABILITY OF EXHIBITORS´USE AND DISPOSITION

The versatile design of exhibitors will give us the chance to convert the exhibition into a cocktail where the waiters raise their trays to serve the product the visitors. In addition, may be tested daily experiences of different distribution. It would be one stand and many.

TOWERS AS LANDMARK

The glass towers house the meetings. They are a transparent but protected space. The towers are a reference and reach the maximum height, 4.5 m. LED technology will announced meetings, events, and presentations at the top.

PROTOTYPE EXHIBITION PAVILION




FIRST PRIZE A+AWARD (GRUPO VIA). AWARDED AS THE BEST EMERGING OFFICE IN SPAIN 2012

AWARDS

INTERNATIONAL IMAGE OF EXTREMADURA

PRONAT OFFICES

DON BENITO, SPAIN

On a great esplanade of concrete like one more piece of the industrial process. A line to north and a broken line on south. In the north front big hollows are opened to give the maximum light to the zone of work. The south front is totally closed, allowing the lighting of the minor volumes from lateral.

The program is divide in two types of spaces, one of work in opened and other more private, attached other one the first one. This scheme removes to the whole project. The extension of working places temporarily, according to the moment of the year, is absorbed by the zone in opened. Thus the floor consists easily, without spaces of traffic. The access is produced for the south front between two of the emergent boxes.

Three differentiated zones; a zone of administration, other one of fieldwork and other one more public, of reception, meetings and bathrooms. In addition a small housing joined the building for the keeper, being able every zone work independently of the rest.

AWARDS

OFFICES FOR AN AGRICULTURAL INDUSTRY



FINALIST ARQUIA/PROXIMA AWARD 2006 - 2007 SHORT LISTED THE GLOBAL OBSERVATORY. ETH ZÜRICH 2011MENTION NAPISA AWARD. BEST BUILDING 2008-2009

HOTEL IN LUNA CASTLE IN ALBURQUERQUE

ALBURQUERQUE, SPAINNATIONAL HERITAGE

//IN PROCESS//

Conserve, restore and enhance the many architectural, historical, cultural elements and the value of the property that will host the “Hospedería de Turismo” is the target of the development of this project. For this purpose it is necessary to keep both exterior and interior appearance of the castle, especially its distinctive profile. Also avoid as far as possible interference that may arise between residential uses and cultural.

To do this, the first operation is performed on the fortified line of “Recinto de los portugueses”, where the building is “dug” inside the profile of the bastion. It is fully integrated into the field without competing with the elevation of the castle. Thus any visual impact is discarded since it is adapted to the existing topography.

The excavation will house the hostal program, taking advantage of proximity to the strength and privileged views over the village and surrounding area because of its high elevation. It aims to ensure that the host perceives is within the castle and its surround-ings, not “near” or “next” but “inside”. Thus we do not a new building on the side of the hill but rather arises from the site adapting to it, the visual impact is zero and the profile of the castle remains. Massive architecture.

To develop the program we took advantage of the bastion walls to “attach” the neces-sary uses. We open small and irregular holes similar to those existing in both the castle and the wall, which allows the building to “breathe” and take sunlight. These small holes are open into the façade according to the needs of use.




AWARDS

QUITAR UNA DE ESTASSSSSSS POR NO SE QUÉ DE CONSTRUCCIÓN

ADAPTATION OF THE SAN JUAN DE DIOS CONVENT IN A HOTEL OLIVENZA, SPAIN FIRST PRIZE COMPETITION

The building of The Convent of San Juan de Dios has a singular structure which we meant to preserve in the new project for a hotel. To do so, public and leisure program are located at the main building profiting all the old structure with high domed ceil-ings and big spaces between supporting walls. The decision is based on conserving the respect and recognition to the sacred space without forcing it to accommodate the small and private program of the hotel, the rooms which will force it to unnecessary divide in small pieces.

The project understands the inner space of the convent as a reclusion space from the surrounding courtyard, to contrast that historic fact the new intervention inserts in it all the celebration and exhibition spaces required. All the unnecessary divisions are re-moved to liberate clear and more flexible spaces, now divided occasionally with tran-sitory furniture like temporary doors hidden by the wall when more space is needed. All this public space has an independent access from the private rooms enabling even more that distinction between what is public and what is not.

The private program. The hotel rooms are located unexpectedly in the surrounding bastion of the convent by removing the land around, like if it was a digging operation, to configure the three spaces of the project: the ancient convent, the bastion and in between those two the circulation and relation courtyard which at the same time con-serves its original function, why it was configured this way, resting an old street of the urban frame of the Olivenza town.

The project conserves a double circulation, both private and public. The fingers ob-tained from the bastion excavation configure this courtyard making it wider to leave space for small gardens and leisure areas or narrower to remain that domestic vision of a street as an access to a private space, the rooms.

On the other hand, the rooms are conceived as “cells”, opened to private patios to access each cell independently The vegetation in these patios helps to create a space of calm, peacefulness and withdrawal, adequate to the guests of the hostelry, who searches to enjoy of quiet and gather with the rest in a calm ambient: it allows the visitors to discover the way Extremeños see and live life.

These patio rooms insert in the cracks as fingers opening the land to form a comb structure, with thick layers of mass between the cells, helping their climatic behav-iour. Moreover, the extracted land is reused as a mud wall, making the most of it in a single gesture by using a material and a technique of the area. This layout allows cross ventilation as there is another patio in the background, as a chimneys of light. The configuration keeps the promenade in the upper part as a legacy to the people of Olivenza, with no interferences in daily life of the inhabitant of the Hostelry.

AWARDS

//IN PROCESS//





INTERNATIONAL COMPETITION IN CHILE TO BUILT AN EMER-GENCY INTERVENTION

PUERTO SAAVEDRA, CHILE FIRST PRIZE COMPETITION

//IN PROCESS//

Saavedra port structure is determined by the own site geomorphological elements. They are distributed in two levels extended longitudinally. They form gaps between the frame and visual discontinuity. It leaves the urbanized areas as islands connected just by structural axis Ruta S40.

Spaces throughout the village are formed between these units. Some of them, prone to flooding and waterlogging processes, are destined to agricultural uses. 5 different populations are clearly differentiated in broken urban grid; Saavedra Bajo, Saavedra Alto, Corvi, Villa Maule and Boca Budi. Each with a distinct function from the other.

Connectivity between populations currently unconnected is a priority. That is why we define two levels of intervention: one at ground level, “terrestrial”, and the other high in safe area, “aerial”:

1. “Terrestrial”: two main axis are developed to connect people at ground level. One along the boundary between Puerto Saavedra and Imperial Laguna (Costanera) and another at the boundary between the public and floodplains (Canal 21 de Mayo).

2. “Aerial”: The safe connection. It is developed along a two-levels walkway equipped with uses and activities on its route.

We have opted for a consolidation and improvement of existing waterfront green axes of Costanera and Canal May 21 in “terrestrial” connection, giving them the uses and appropriate design to enhance the existing linearity and to take advantage from the rich landscape of these edges. These limits become places for walking, recreation and sport with rest areas and landscape enjoyment. These two main green lines are connected between them by perpendicular green axes.

The “aerial” connection is made through a gateway on two levels that houses pro-grams and equipment protected from rain. A pedestrian axis where typical urban ac-tivities can take place is proposed at its upper level. The piece allows activities such as cycling, running, walking or fruit markets. It also facilitates the connection between the different populations at a safe altitude.This structure crosses wetlands and saves the emptiness between populations to connect Saavedra Bajo to the foothills.

The walkway offers people a direct evacuation route that runs along the boundary between Saavedra Bajo and growing areas. In case of flooding, you can quickly reach





AWARDS

In collaboration with Mariló Sánchez García + Ipiña-Nieto Arquitectos

INTERNATIONAL COMPETITIONPIENSA SOLPUERTA DEL SOL, MADRID, SPAIN SPECIAL MENTION

We understand Puerta del Sol as a set of 9 sub-systems associated to 9 specific identities that make up a system devoid of identity.

The proposal is divided into two scales of action: first, scale system, seeks to explain the operation of the square and acts as a trigger for the second acting scale, sub-system´s scale, which seeks to consolidate the points previously identified. To get this we establish nine strategies for nine identities that coexist in a system devoid of identity. The true character of the square is given by the sum of these sub-systems whose juxtaposition does not lead to a new identity as such. The result is non-identity. Emptiness. The generic.

Usually identity is something often sought, we look for the opposite in this case. Puerta del Sol consolidates as a symbol of the no-identity, as a space whose meaning is not having it. It accepts all kinds of challenges that appear over time. Its flexibility, the possibility of mutation or their heterogeneity are its identity. We can say that its unique identity is the lack of clear identity. Dynamism and constant change are the ones who guarantee their perpetual state of centrality.

From a careful study and analysis of existing elements, we seek to structure and con-solidate the different systems associated to the different identities that currently live in the plaza. Each of them has appeared in various historical moments and for various reasons, but currently have to live in a physical space that is the Puerta del Sol.

The condition of mutable space prevents the creation of a project to implement a still image. Program changes are occurring faster than its possible physical realization. Sol does not support a conventional architecture project where a fixed action materializes. Any physical modification of this complex space is a limitation for future possibilities. We propose an open proposal that answers each historical moment of Sol as a con-stantly changing space that can respond to the present situation and future program-matic mutations. Our proposal is an unconventional approach that without modifying the plaza incorporates a configurable mobile elements that strengthen the identity of the space according to their needs.

AWARDSFIRST PRIZE ARCHITECTURAL RECORD’S DESIGN VANGUARD 2009 NEW YORK




GLENTLEITEN, SOUTH BAVARIA, GERMANY FINALIST SELECTED

The outdoor museum Glentleiten consists of a sample of more than sixty historic buildings and a vision of rural life and culture construction of Upper Bavaria . The original houses were moved and preserved in the museum grounds located on the mountainside .

The project provides a new point of contact. It is embedded in the topography without competing with existing historic buildings.

The scattered distribution of parts refers to the arrangement of the museum build-ings. The roads move through the complex in the same way that cross the hillside homes. To be integrated into the environment we re-interpreted the site using the same tools we found on it. Two patios along the route develop outdoor program . The linear space experimentation prepares the user for the subsequent landscape path . Techni-cal information about exposed to the elements as the same time as we talk about the environment through the senses.

OPEN AIR MUSEUM IN GLENTLEITEN. INTERNATION-AL COMPETITION. GERMANY.





EUROPAN 11 HOUSING COMPETITION MONTHEY, SWITZERLAND SECOND PRIZE COMPETITION

The proposal is bornt from an interpretation of the place as the footprint of the indus-tries prior to urbanization. Existing traces define our schedule.

The conceptual idea is based on the density distribution of the program throughout the place, focusing on program bands that alternate density variable green outdoor spaces and covered spaces where the construction program focuses.

Starting from a general scheduled, concentrated densities of program are located, which are more dense at the edges, setting towers that overlook the mountains, and respond to the edges of the place. The revision and reinterpretation of the pre-existing items define us directions and hierarchies of the public social space; we retain the main industrial structures, we release them of the enclosures and integrate them into the general space. The bridge building will be supported by the existing building structure. With steel box section, these three-dimensional beams will be placed in the ideal position that enables different configurations of public space on ground floor.

The bridges will be located at the top of the existing structure, releasing the ground floor of the industrial buildings that are configured as a forest of pillars. This forest of pillars extends throughout the project, setting up an open ground floor connec-tions appear, and there are tertiary uses and general equipment fitted with transparent enclosures.

On this floor, denser programs bands are built, and mainly will be occupied by of-fice uses. These bands built on the ground floor create a rhythm of light and shadow across the place.

The ground floor public spaces have different hierarchy. The main space is the large square covered by the structures of existing buildings in its surroundings. A large open square is set as the main outdoor space. Circular plazas in the built bands open themselves and are linked together with adequate roads for pedestrians and bicycles.

All bands contain all the programmatic diversity so that the construction of a band always includes offices, commercial premises and residential space thus avoiding the current configuration as a bedroom suburb. Thus no uniform program areas are created from the beginning but all uses distributed throughout the space in both the horizontal and vertical development. This heterogeneous distribution is qualified on the ground floor creating potential axes or places where commercial uses are distributed. In height the upper floors are re-served for locating housing. As for the stages of implementation, the project can be built as warehouses are dismantled, grouped based on the main road.





BRIDGE IN MARIBOR. INTERNA-TIONAL COMPETITION. EUROPE-AN CAPITAL OF CULTURE 2012

MARIBOR, SLOVENIATHIRD PRIZE COMPETITION

The project arises from the need to connect the shores Tabor Lent and separated by the river Drava, with the aim of reinforcing and reconnecting it with the city.

The proposal responds to some assumptions that we considered necessary in the project:

1_ Less environment impact on the in the river. “ To achieve a less environmental impact on the river, we must not act in it. We must solve the problem by spanning from one side of the river to the other with only two supports. There won´t be any intermediate support in the river

2_ Minor visual impact. The structure has to be very light, almost “transparent”. We must achieve the least visual impact. The gateway “disappears” to allow views of the river through it. Because we do not want to alter the image characteristic of the historic center with a striking element we propose a new piece for the river without image, without presence, almost intangible Like a “ghost” bridge or a tightrope walker. It can almost disappear in some foggy days. At night, it´s absence would suggest that pedestrians and cy-clists are floating on water. So, we propose a gateway that spans over the 130 m with only two supports, and a structure as light as possible. We propose to link the city of Maribor at all levels, not just the riverbanks (253.2 m), but also its two main levels: Level 1_ LENT - TABOR (River Level) 256 , 7 m, and Level 3_ Glavni Square - Square revolucije (Level Center - City) 265.2 m. The great height of the beam enables us to introduce a new level in the large truss-bridge, Level 2 (260.9 m)

This way, we create a bridge in 3 overlapping levels. Actually there are 3 bridges in 1. Two connecting pedestrians and cyclists, and one in the middle static, to fish, to host activities, markets, ect, as a big platform on the river:

Level 1 _ LENT - TABOR (River Level) 256.7 m. Level 2_ PLATFORM ON THE RIVER (Viewpoint) 260.9 m. Level 3_ Glavni PLAZA - PLAZA revolucije (Level Center - City) 265.2 m.





The dominant character of the project is the maximum respect of the environment: the final solution for the different areas of implementation was founded by three main ideas;to consider the project area as a milestone or as an alternative entry space to the city of Venice, to respect the historical character of the railway (rehabilitating this area and at the same time giving response to the increase in density of the city without using peripheral soil) and to find the relation between Mestre and Marghera, divided by the railway, the protagonist of the project.

In the old rail routes we have chosen to avoid physical and visual barriers, by raising the project respect to the ground, without changing these routes: by minimizing the points of contact with the earth, it establishes a relationship view over the surface of implementation. In addition, with the reuse of these lines and with the coating material of our structure, we intend to claim the historical and station identity of the city. The building is viewed as if it were a train.

Between each linear structure and soil are created bands of shadow show, visually, but not physically, the limits of the exterior spaces.

The relationship with the park Piraghetto is twofold: on one hand the linear building is extended through the streets that are introduced in the park completing the original paths, on the other, the heterogeneous arrangement of trees typical of the English gar-den merges with the new traces landscapes. The orthogonality of the new trees point in a subtle way the limit of our area of implementation: when the bands diverge, wide public spaces and relationships that accentuate the residential character are created, and can accommodate variety of outdoor activities.

The proposed program is centred in the character of a new gate to the city of Venice, reinforcing the idea of quality tourism.

In summary, the central point is to exploit this space with constant movement, activi-ties and flows of people to accommodate activities that bring a new attraction to the city.

EUROPAN 12HOUSING COMPETITIONVENICE, ITALY SPETIAL MENTION





RESTORATION OF A FEDER-AL BUILDING, NEW EUROPE-AN CULTURE CENTRE //CIRCE// LA CORUÑA, SPAIN FINALIST INTERNATIONAL COMPETITION

The proposed design arises from an exhaustive analysis of how the building plan has transformed in different time periods. As a result, three operations stand out - addition, division, and void - that generated the existing structure. Once the structural logic of the site is understood, we propose a reorganization of the building capable of cleaning, reordering, and recuperating the essence of the place.

Our plan manifests a duality discovered in our research between space that is phe-ripheral, preexistig, compact, and compartmentalized and another that is central, hollow, neutral, and programmatically multifaceted. Consequently, the most specific an less flexible programs (library, offices, and meeting rooms) are inserted in the periphery of the building. This move not only exposes these programs to natural light and outside views, but also prompts the main circulation to be in the interior. A grand central void frames the new ground added to the project: four hanging rooms that bring light from all directions into the heart of the proposal. This central void, a symbol for the life of the building, allude to the different courtyards configurations the building has ahd thourghout history. These added volumes add versatility to the existing by generating multipupose rooms with rich spatial and lighting conditions.

In collaboration with I. Carnicero

///in process///





FAIR BUILDING IN ALCAZAR DE SAN JUAN, CIUDAD REALALCAZAR DE SAN JUAN, SPAIN FINALIST

The proposal is located in an degraded emptiness within the town of Alcázar de San Juan. It consists in the creation of a large linear park connecting green spaces in the area which creates a large commercial space giving an new image for the city. The proposal will integrate different forms of entertainment: commerce, culture, sports, tourism and community development, as well as develop an urban strategy compac-tion of the city, returning the activity to a degraded environment.

To get this, a powerful green infrastructure consistent in wooded axes that run all along the site, allowing to increase in number in the emptiest areas of program and acting just as milestones in others where the program do not permit such vegetation. The same deciduous tree species than those used in the park are chosen: elm, maple and trees of paradise

The new linear park will set the guidelines for future city growth, integrating the sur-rounding neighborhoods. It works as a structural axis and links the three major green spaces in the city. Besides this, it promotes this new sports area while resolves the current urban void.

Inside this lineal park, a vast commercial space is designed. The flexible form can accomodate any tupe of event, while granting a fresh image for Alcázar de San Juan.The form is based how tensegrity structures play with the tension of cables and the compressions of bars, all supported only in the perimeter. The bars receive a differente treatment according to their function: sometimes they are LED lights, projectors, heat, sources, or air conditioners.

The resulting form not only alludes to notions of the ephemeral, but also refers back to a traditional Spanish lacework called “mundillo”, or bobbin lace. The thin members of the structure appear and disappear as they blend with the environment, and the design suggest a novel identity for the city that looks into the future.

In collaboration with I. Carnicero





EUROPAN 10HOUSING COMPETITIONENTRONCAMENTO, PORTUGAL SECOND PRIZE COMPETITION

The project must be understood as an intervention as respectful as possible in place, avoiding visual and physical barriers and integrating itself within an environment of great scenic and environmental value as neutrally as possible. It rises from ground level, floating on it, without changing the topography, reducing the points of contact with the ground to the minimum, communicating and putting in visual relation two spaces that were isolated. Between the building and the ground these shadow bands create a series of outdoor but sheltered spaces for recreation and strolling, gardening orange and lemon trees and orchards.

The building is intended as a convoy of trains, as an elevated road which will con-catenate the various wagons that form the different programs, a new urban space with uses that revitalize the environment without sacrificing the inherited railroad tracks. All of them are preserved, using the drawing of the railroad tracks no longer used as the base for the pedestrian tracks.

The topography is not modified. On the contrary, we reduce the surface in contact with the ground to the minimum in the vertical structure. The only impact that occurs comes from the foundation of the pillars. Rather than imposing the building to match the topography, we take advantage of it, making it our ally and integrating it into the project, because we understand that the relationship with it is essential to generate access to the building.

The project takes into account the preexistence and the forceful language of the railway tracks, and assimilates and reinterprets it. There are no barriers, creating a large park on ground floor and a big walking deck. Faced with an adverse condition, and main-taining the original elements, we create a completely open space, full of activity and a new stroll at various levels.

The differences in height that occur at each point between the ground and the main floor of the project is not continuous. This will generate different ways to access the building, depending on the relationship with the ground at each access point, with either a ramp or through a core of vertical communication.

The building camouflages on the environment, its volume becames part of the land-scape. The facade give a chameleon-like feature that allows the change of the image of the building throughout the day reflecting different sheens and hues.





PASSENGER SERVICE CENTER

PORT OF KINMEN, TAIWANTHIRD PRIZE COMPETITION

The proposal try to generate a new port typology. The conventional horizontal develop-ment turns into a vertical one, creating an urban icon and providing open space for green areas. The idea is to extrude the project site ,twist it and then obtain a vertical solution, leaving the plot free in order to continue the green promenade. To get this situation we accomplish the following strategies:

1.- Turn: Rotating the building, we manage to incorporate a green space in front of the main building.

2.- Adaptability: The project may response to a wide range of activities..- Concerts and big events at the front of the building.- Shopping center, shared by users of the port.- Green Park, into the surroundings of the building, where lots of public activities will be set.

3.- Landmark: A gateway to Kinmen ,where the boats come along day and night, at-tracting the curiosity of tourists.

4.- Roadway planning: circulation within the Port has to be functional, confortable, green and user-friendly. The structural framework is outlined below vehicular traffic, parking and foot traffic.

5.- Visual design / gateway: a visual design plan is important for approaching the im-age of a national gateway, a regional icon and giving information with its design. The goal is to have visitors with a memorable experience at the Port.

6.- Public space as social motor

7.- Ecobuilding. Eficient use of water and energy, economic saving, use od rainwater for iirigation of green areas, solar energy capture.

8.- Permeability and transparency. Permeability and transparency are the two main concepts in this project, so that the users will have views to most of the places of the building, the surrounding area and the landscape.

9.- Green route - Visitors can walk along the port area through green areas, since the new park gets a green continuity that fits perfectly with the existing areas.

10.- LED display. One of the many uses of the new big façade is to show advertisements, announcements even videos or special events. This façade acts as a public space facing both the park and the sea

During the day the façade seems to be a mirror where you can watch the environment while arriving to the port. The condition of narrow building allow pedestrians in the park to see through the port during the day. This transparency introduces the sea over the park, looking like a continous space.





HOUSING COMPETITION. EMVS150 DWELLINGS IN MADRID

MADRID, SPAIN SECOND PRIZE

The proposal aims to achieve an economic, flexible and easy to assemble piece. The dweeling is composed by three elements: a central main space, framed by two sec-ondary side spaces, called engawa. These two interstitial areas, generated between two planes, collect all the facilities and furnishings. These two servers spaces are the main novelty of housing. Allow release or furnish the central open space. Flexible and open spaces, with shifting boundaries between work and leisure.

Two habitable light structures are attached to the main brigth and versatile core, which allow a flexible space and reorganize the house depending on the situation.

The two spaces engawa are not understood as service cores or humid traditional zones, but as privacy filters and sunscreen. They get the traditional uses of bathroom and kitchen expand along the house like a mecano, allowing the movement of the bath into the light, the movement of the bed into the exterior engawa in summer (double facade space) or increase the kitchen to the central space of the house.

There are two sets of mobile enclosures: one parallel to the facade, generating different filters of the house, and another perpendicular to the facade, a series of guides that allow subdividing the area with more or less bedrooms depending on the number of people who live in the house that time. This way the dwelling is flexible to considera-tions of taste or use of the user.

The exterior engawa gets direct ventilation from the street. The interior engawa gets cross ventilation through solar chimneys.





VILLA DE MEDIOS MADRID 2016OLYMPIC GAMESMADRIDSECOND PRIZE

The proposal “MOTTO” is a project without floor plan or situation plan. Any organiza-tion is possible, its configuration is flexible. It produces zero impact on the territory, not aggressive with the environment, in which is implanted because needs neither foundation nor excavation for the facilities. Precast concrete frames are self-support-ing modular structures that can be stacked in height, increase or decrease their quan-tity or change its configuration according the needs of future Media Village.

It is a completely reversible procedure. Upon completion of the Olympics, frames can be sent back to the factories of origin or be transported directly for use in the construc-tion of roads, tunnels, underground galleries, collectors, hydraulic pipe ...

Commissioning work is simple. Frames are rented and placed directly as they come from the factory with cranes. Once arranged in the ground, you proceed to place the scaffolding system that allows access to the upper frames and decks. It also includes facilities each frame . Finally, the inside of the frames is conditioned for housing units to accomplish the requirements of a four star hotel. The rooms have a north-south orientation with green areas between them. These green areas include space for rec-reational activities and exercise such as walking and swimming; and they allow the passage of people with disabilities, bicycles and electric vehicles. They are configured with natural grass sod.

No tree planting is proposed because in the short time that the VIlla will work could not be developed and to plant grown trees is very expensive and its survival is quite difficult. Shading is produced by awnings on the top of the highest level frameworks. You can set the density of awnings as much shade you want to create a bioclimatic and sustainable proposition. North-facing rooms can enjoy plenty of natural light and southern rooms do not receive direct sunlight because of the awnings. Cars and buses are placed in the end zones. Reception areas, public areas, concierge bars, blocks of health services, laundry and storage are located at the end zone too, working as a residential complex separation.

To configure the rooms inside the frames are lined with wood skin and one of its sides is covered with a large pane of glass. On the other side, in contact with the scaffold structure, is the access. Each room has a bathroom module and one or two room modules, depending on whether it is for one or two people. This system ensures that the construction process of the rooms is very simple and standardized.





COMPETITION

SPORTS HEADQUARTERSOLYMPIC GAMES MADRID 2016

MADRIDSECOND PRIZE COMPETITION

The project is conceived as a small scale topographic operation respectful with the environment . You can respond to the needs of an Olympic center at the same time as generating an urban and programmatic proposal to serve as a legacy to the city. First, part of the ground is excavated to host the golf competition and training. After, with the mass from the excavation, some green slopes are created to the sides of the fields along the longitudinal axis north-south orientation in which the stands are supported as special temporary furniture. This operation creates a new topography of relation-ships. It also minimizes the impact on the ground by using the extracted material as a base, cover and isolation of the new architecture that blends with the environment and also generates less waste and requires less external support for the transport of the waste matter being the most sustainable construction process.

The green slopes become wooded park at the top, thus achieving greater acoustic and visual field protection. In turn, they serve as access filters to fields and the inside contains the program required by the Olympic Hockey Center. Inside is empty and the program is in the areas that need it, constituting flux relations like it were a burrow or anthill, always prioritizing the paths of the athletes and the connection between dress-ing room, field, medical services and newsroom.

The space of fields is a large longitudinal open space that develops at level -5.50 meters and includes two championship courses and training camp, reaching this lat-est north. In competition fields are divided by some stands that cross the transverse spaces between them and complete the necessary capacity for the Olympic trials.

These bleachers, or large pieces of furniture, are easy to assemble items. Once the competition ends, they disappear, leaving a large park in the style of Circo Massimo in Rome as we know it today as legacy to the city. It could easily hold all kinds of sports competitions alternatives to the Olympics - both hockey and other sports- parties, sports schools, festivals and concerts, thank to the interspaces free for insertion of scenarios, pavilions, etc...

On the modified topography major structural parts are supported, trusses that host the most private program such as hotel or dwelling. Trusses act as lookouts-awning creating shade in the valleys and generating a microclimate because they let favorable movement of winds for ventilation. In turn, they shield refresh streams and create large areas of shadow and gloom. It creates for the visitor a pleasant rhythm of sun. The garden areas are sunny and stay and refreshment areas will be in shadow. There are also areas where the water goes from the ground to the person height with various water games, such as fonts or environmental humidifying systems.





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