My Personal Approach to Architecture.

I would like to communicate some important keys to the performance of an Architect for me. Without wanting to be presumptuous, I would like to suggest further approaches that emerged during classes the following key:

The architecture should provide answers a range of our client's needs or resolve problems for them, so it is essential to obtain these needs of our clients and understand thoroughly. Probably, due to the detailed study of the case, the problems raised by the client will be converted to our own problems also.

Architecture should provide answers to the range of needs, and resolve any problems, an architect's clients may have, so understanding the needs of our clients thoroughly is essential.  Probably, through a detailed study of each case, the problems raised by the client will, inevitably, be the architects challenge to solve.

The location and its environment are sources of inspiration, and will always be a good beginning point of departure for our project. We must not forget that the creation or construction of a work of architecture needs the commitment of an architect beyond the immediate scope of the client's needs as it involves urban planning, environmental considerations and understanding of energy costs. our transformation of the territory involves a commitment architect beyond the scope of our client's needs. (urban planning, environmental care, energy cost, etc.) Don't use (brackets), etc. or dots...

The development of the idea, our project, must answer to the architectural scope obtained. An architectural answer should contain all above without forgetting that it must be realistic (buildable) and usable (functional).

The function of architecture should culminate in the execution of the project, only then will it become a reality. An architect must have a well learned and experienced job to lead and develop all phases necessary in completion of the project to complete the projected content.

Tadao Ando 'on site' in the Azuma House or Row House

Aldo Rossi on site.

The functionality is the result of it.-

The difference between a sculpture and a work of architecture is based, in my opinion, is that architecture has to function and not only be contemplated to have a function far from just being contemplated. The result of an architectural project includes, not only modelling of space, but also the satisfaction of making man to dwell or even be content. satisfy man to inhabit on. Furthermore, if it is possible to make the man happy.

Tristan Tzara House, 1925 Adolf Loos

"There is only one small part of architecture belongs to art: the tomb and memorial. Everything else, which serves a purpose, should be excluded from the realm of art." Adolf Loos

Vitruvio: UTILITAS - VENUSTAS - FIRMITAS
(I've seen translated as 'solid - useful - beautiful')

Antonio Gaudi "Architecture is the arrangement of the light; sculpture is the play of light."

The architecture is reality.-

All of the above will not make sense if we do not is meaningless unless we include our ambitions in the implementation of the project. ed work.

Louis Khan "Architecture does not exist. There is a work of architecture."

In other words, if development of our work we only get drawings on paper or digital format, really it is not an architectural masterpiece, only is beautiful paintings to hang on the wall of our office study. And the age will be responsible to become old the design drawings that were a good seed but did not flourish emerged.

"Mr. Van der Rohe, how do get those big flat roofs?" - "Well... leaky." Ludwig Mies Van der Rohe

Aristotle "A force built well, you get to good architect"

We are what we repeatedly do. Excellence then, is not an act, but a habit. - See more at: http://blog.workflowmax.com/architecture/top-101-exceptionally-badass-quotes-architecture-design-legends/#sthash.GT8xUMM7.dpuf

 I've seen it translated as different things, I like this one 'We are what we repeatedly do. Excellence, then is not an act but a habit.' or perhaps more simply '`practice makes perfect.'

e are what we repeatedly do. Excellence then, is not an act, but a habi - See more at: http://blog.workflowmax.com/architecture/top-101-exceptionally-badass-quotes-architecture-design-legends/#sthash.GT8xUMM7.dpuf

e are what we repeatedly do. Excellence then, is not an act, but a habi - See more at: http://blog.workflowmax.com/architecture/top-101-exceptionally-badass-quotes-architecture-design-legends/#sthash.GT8xUMM7.dpuf

Paco Cruz

I would like to communicate some important keys to the performance of an Architect for me. Without wanting to be presumptuous, I would like to suggest further approaches that emerged during classes the following key:

The architecture should provide answers a range of our client's needs or resolve problems for them, so it is essential to obtain these needs of our clients and understand thoroughly. Probably, due to the detailed study of the case, the problems raised by the client will be converted to our own problems also.

The location and its environment as sources of inspiration, It will always be a good beginning for our project. We must not forget that our transformation of the territory involves a commitment architect beyond the scope of our client´s needs. (urban planning, environmental care, energy cost, etc.)

The development of the idea. Our project. The project must be answer to the architectural scope obtained. An architectural answer should contain all above without forgetting that must be realist (buildable) and usable (functional).

The function of architecture should culminate in the execution of the project, only then will become a reality. Architect must have a well learned and experienced job to lead and develop all phases necessary to complete the projected content.

Tadao Ando 'on site' in the Azuma House or Row House

Aldo Rossi on site.

The functionality is the result of it.-

The difference between a sculpture and a work of architecture is based, in my opinion, to have a function far from just being contemplated. The result of an architectural project includes, not only modelling of space, but also satisfy man to inhabit on. Furthermore, if it is possible to make the man happy.

Tristan Tzara House, 1925 Adolf Loos

"There is only one small part of architecture belongs to art: the tomb and memorial. Everything else, which serves a purpose, should be excluded from the realm of art. "Adolf Loos

Vitruvio: UTILITAS - VENUSTAS - FIRMITAS

Antonio Gaudi "Architecture is the arrangement of the light; sculpture is the play of light."

The architecture is reality.-

All of the above will not make sense if we do not include in our ambitions the implementation of the projected work.

Louis Khan "Architecture does not exist. There is a work of architecture."

In other words, if development of our work we only get drawings on paper or digital format, really it is not an architectural masterpiece, only is beautiful paintings to hang on the wall of our study. And the age will be responsible to become old the design drawings that were a good seed but did not emerged.

"Mr. Van der Rohe, how do get those big flat roofs?" - "Well... leaky." Ludwig Mies Van der Rohe

Aristotle "A force build well, you get to good architect"

Thank you very much for reading and correcting my ever humble opinion about architectural theory!

Baensch House. 1935. Hans Scharoun.

 

Baensch House is located in a valley of Havelland, closed to the Havel Lake, out beyond of Berlin`s urban core. Therefore track housing predominates in an area with where predominates a fantastic valley views, surrounded by lush vegetation. The plot is almost rectangular, facing south-east sloping down to The lakes. Thus, the house, which it has two levels, is located at the top of the plot, where it has the main entrance is. The whole programme is arranged to take advantage of the fantastic surroundings of valley.

The house was built for Felix Baench and the brief included the requirements for a little modern family with many different activities which had to be shared in the same space: a space to play piano, a space to work, two bedrooms, a kitchen, a meeting room and a dining room.

Its facts and to take the most of surroundings was the main priorities for Scharoun's project. The main floor was approached like a fan, where different platforms were added to natural ground in each level and opened to the surroundings (to the south) providing the movement to the house.

In each one is located different functions, and its are joined by the stairs:

Each space is defined by its function and a series of smaller stairs unify this interior landscape:

On the top level, study – reading room, to the north, kitchen, to the east and finally the dinning room, which is a little, half-open room that overlooks the landscape. It has big windows despite. It has cantilevers and a great deal of vegetation that covers the house. Thus, the light is filtered through the trees and seeps into the rooms. North light streams into the office. the light of north is introduced to the space through light streaming. On the lower level is the lounge, thought like a relaxing area for looking at the landscape or playing the piano. Bedrooms are located on the second floor where there is a great large terrace over the lounge level.

In Baensch House, the exteriors are as important as the interiors. In fact, Scharoun thought developed the spatial organisation on the plot as an architectural promenade like a promenade architectural. The experience could begins from either the interior of the lounge, from the dining room or from the terrace in second floor, where you can experiment view the landscape. It continues visually along the path, though the different platform levels of the garden until to reach the low bottom of the plot.

Scharoun, as a modern architect, thought carefully considered the structural system like a element completely integrated to a others building component such as furniture or circulation in the house. It is a solid construction of load bearing walls and slabs with reinforced concrete located in the north and oriented in different directions. In the lounge its are replaced by the only only circular column for to allow the free plan. In the south, walls are replaced by a great beam – sunshade with a cantilever too. He proposes a house for the sensory experience. (this is a nice paragraph and I like the last sentence a lot)

The living spaces are defined by parquet floor and furniture which is built-in to articulate generating different spaces. In addition of this, the fireplace is symbolized symbolic, like a tower of brick from the exterior and so many details have been carefully designed, like the handrails that consist of a delicate only single piece of steel or lamps in the lounge, with a circular shade of glass.

Due to the service area are clustered in the rear third of the house, the services solutions are very simple and he uses furniture to conceal the plumbers. The roof pitch according to the climate and overlaps layers of roof to promote the fast evacuation shedding of rain water.

Ana Coronado Sánchez

Bench House is located in a valley of Havelland, closed to the Havel Lake, out beyond of Berlin`s urban core. Therefore track housing predominate in an area where predominates a fantastic valley views, rounded of lush vegetation. The plot is almost rectangular, faced to south-east with slope to The lakes. Thus, the house, which it has two levels, is located on the top of the plot, where it has the main entrance, and its arranged the whole program to gain the fantastic surroundings of valley.

The house was built for Felix Baench and the brief included the requirements for a little modern family with many different activities which had to be shared in the same space: a space to play piano, a space to work, two bedrooms, a Kitchen, a meeting room and a dining room. Its facts and to take the most of surroundings was the main priorities for Scharoun`s proyect. The main floor was approached like a fan, where different platforms was added to natural ground in each level and opened to the surroundings (to the south) providing the movement to the house.

In each one is located different functions, and its are joined by the stairs:

On the top level, study – reading room, to the north, kitchen, to the east and finally the dinning room, which is a little and half open room that see to the landscape. It has big windows despite. It has cantilevers and a great deal of vegetation that covers the house. Thus, the light is filtered through the trees and seeps into the rooms. In the office, the light of north is introduced to the space through light streaming. On the low level is the lounge, thought like a relaxing area for to see the landscape and to play the piano. On the second floor, bedrooms are located. Its contain a great terrace over the lounge level.

In Baensch House, the exteriors are as important as the interiors. In fact, Scharoun thought the organisation on the plot like a promenade architectural. The experience could begin from the interior of the lounge, from the dinning room or from the terrace in second floor, where you can experiment the landscape. It continue on the path, though the different platform of the garden until to reach the low of plot.

Scharoun, as a modern architect, thought carefully the structural system like a element completely integrated to a others building component such as forniture or circulations in the house. It is a solid construction of load bearing walls and slabs with reinforced concrete located in the north and oriented in different directions. In the lounge its are replaced by a only circular column for to allow the free plan. In the south, walls are replaced by a great beam – sunshade with a cantilever too. He proposes a house for the sensory experience. The living spaces are defined by parquet floor and furniture is built in generating different spaces. In addition of this, fireplace is symbolized like a tower of brick from the exterior and so many details has been carefully designed, like the handrails that consist of a delicate only piece of steel or lamps in the lounge, with a circular shade of glass. Due to the service area are clustered in the rear third of the house, the services solutions are very simple and he uses furniture to conceal the plumbers. The roof pitch according to the climate and overlaps layers of roof to promote the fast evacuation of rain water.

Ana Coronado Sánchez

Mills as an Example of Vernacular Architecture

The mills are examples of vernacular architecture. The main feature of this architecture is its design and materials.

The plan of the building are regular and the vertical layering of the building allow two different customs: at the ground floor, the equipment of the mills; at the next on the upper floors floors, the house of the miller.

Material, such as stone, wood or brick, enhance the personality of this architecture.

The mills are constructed from load bearing walls arranged in two or three bays, which It's create small and high spaces (between 3-4 meters). These space are separated with subdivided by wooden floors. Another main feature of this architecture are the mono-pitched or pitched roof.

However, the element that makes special this kind of architecture special is the water. Coming through the irrigation canal, and going through the mill.

Laura López 

The mills are examples of vernacular architecture. The main feature of this architecture is its design and materials.

The plan of the building are regular and the vertical layering of the building allow two different customs: at the ground floor, the equipment of the mills; at the next floors, the house of miller.

Material, as stone, wood or brick, enhance the personality of this architecture.

The mills are constructed from load bearing walls arranged in two or three bays. It's create small and high spaces (between 3-4 meters). Those space are separated with wooden floors. Another main feature of this architecture are the mono-pitched or pitched roof.

However, the element that make special this kind of architecture is the water. Come through the irrigation canal, and go through the mill.

MAXXI, Rome. Zaha Hadid, 1998 - 2009

In 1998, Italian Ministry of Culture held an international competition for a new museum of modern art and architecture in Rome; 273 entrants submit a proposal for it.

Three months was the deadline for the shortlist. The site had been chosen a year earlier, in Flamino; a district that had become lost in time. The jury´s deliberation was spread delayed until 1999, when they decided that the winning design was Zaha Hadid's contorted futuristic form. The Project was inaugurated in 2010.

Zaha Hadid intended ‘a new fluid kind of spatiality of multiple perspective points and fragmented geometry, designed to embody the chaotic fluidity of modern life’.

Although the programme is clear and organized in plan, as one passes across the spaces, one perceives the flexibility of use.

The main elements of the Project can be seen even from outside: concrete curved walls, suspended black staircases, or open ceilings that allow the catching natural light to stream through.

Elena Lozano Castillo

Joan Miró Foundation, Mallorca. Rafael Moneo, 1992

Hide from the urban with contrast.

Moneo's building intention is to withdraw the visitor from the reigning urban atmosphere since it's approach. The Foundation consists of two concrete volumes clearly differentiated but after analyzing it deeply you realize that are truly connected between them.

On the one hand, Moneo designed an extended building of three storeys and flat roof, whose lonely opening is oriented to the north. The portal frame which faces to the south is equipped with brise-soleis that sieve filter the light creating a magical ambiance. On the other hand, the second volume contrasts with the first one being star-shaped and having a flood roof which pretends has a lake on the roof which creates a visual link with the sea, bringing it to the observer.

The fortress-like star-shaped plan acts as a fortress that defends itself from the hostile urban environment using his bastions. On the contrary, the interior differs totally from a fortress providing an unexpected freedom.

The exterior concrete wall filters the light by using through brise-soleils, while inwardly the building is faced with translucent alabaster blinds. It enhances the contrast between interior and exterior in this building. When the sun shower the building, The harsh sun transforms this star-shaped space into a resonating box of light reflected in the surrounding ponds. The low windows allow the visitor to establish visual contact only with view only the ponds and the gardens trying to disengage them from the urban surroundings environment of the place.

Carlos Afán de Riber

Hide from the urban with contrast.

Moneo´s building intention is to withdraw the visitor from the reigning urban atmosphere since it´s approach. The Foundation consists of two concrete volumes clearly differentiated but after analyzing it deeply you realize that are truly connected between them. On the one hand, Moneo designed an extended building of three storeys and flat roof, whose lonely opening is oriented to the north. The portal frame which faces to the south is equipped with brise-soleis that sieve the light creating a magic ambiance. On the other hand, the second volume contrast with the first one being star-shaped and having a flood roof which pretends to bring the sea to the observer.

The star-shaped plan acts as a fortress that defends itself from the hostile urban environment using his bastions. On the contrary, the interior differs totally from a fortress providing an unexpected freedom.

The exterior concrete wall filters the light by using brise-soleils, while inwardly is faced with translucent alabaster blinds. It enhances the contrast between interior and exterior in this building. When the sun shower the building, this star-shaped space become a resonance box of the light reflected in the surrounding ponds. The low windows allow the visitor to establish visual contact only with the ponds and the gardens trying to disengage him from the urban environment of the place.

Doñana Biological Science Centre

The project is located in Doñana Natural Park. The main focus of the project is the opportunity to reflect on the aesthetic division between art, architecture and landscape. The work thus created becomes an evocative instrument.

The building is placed situated in the middle of the Huerta Tejada to demonstrate that the architecture has a real physical presence and is not only an abstraction or a mental concept. Architecture in this way enhances the magnificent natural setting in which it is placed. The building recalls other isolated object like 'Sun Tunnels'; one of Nancy Holt's land art objects.

Its programme is stretched, punctured through different courtyard, that, on the one hand allow light into the interior and on the other provide rhythm to the facade. include a rithm on the facade.

The central space emphasizes the difference between outside and inside. Being both implies a movement and a participation of the inhabitants The diagonal walkway draws the visitor into a interior (a ¿what? interior, a 'cool dim interior' an interior flooded with light' perhaps).

The structural system is resolved in in-situ cast  reinforced concrete which enhances the building's monolithic form.

(ITS MY FINAL PROJECT…IN PROGRESS)

Valme

The project is located in Doñana Natural Park. The main focus of the project is the opportunity to reflect on the aesthetic division between art, architecture and landscape. The work thus created becomes an evocative instrument.

The building places in the middle of the Huerta Tejada to demonstrate that the architecture is a real physical presence, not only an abstraction or a mental concept. Architecture in this way enhances the magnificent natural setting in which it is placed. The building is isolated object like a “Sun Tunnels” (a land-art object by Nancy Holt, 1973-1976, EE.UU)

Its programme is stretched punctured through differents courtyard, that, on the onde hand allow light into the interior and on the other include a rithm on the facade.

The central space emphasis the different between outside and inside. Being both implies a movement and a participation of the inhabitants The diagonal walkway draw the visitor into a interior.

The structural system is reinforced concrete which enhances the monolithic form.

(ITS MY FINAL PROJECT…IN PROCESS)

MUCA (Music Hall and House) Cor & Associated

MUCA is located in the interior Alguena, a small village in the interior of Alicante County where the local economy is based on agriculture and marble quarrying industries. This building has been designed to bring together all the activities related to music and culture that take place in the village.

The plan of the building is square. The interior courtyard is composed by the old quarters of the Civil Guard and the new Auditorium.

• Rehabilitation: The old Guardia Civil quarters has a load-bearing wall structure in good state of repair maintenance. And its shaped in U with an interesting central courtyard for this architectural programme.
• New construction: The new auditorium is separated from the old by new adapted stairs that are enclosed in glass boxes lighted lit from overhead, that try to add fragility to the solidity rotundness of the whole.
• Central Courtyard: It is designed without any permanently fixed element for maximum flexibility.

In the existing building they propose the rehabilitation without any structural formal changes. Simply re-covering (can be confused with recovering: recuperando) all the old constructive techniques and turning them white with different grades of shine with the intention of generating tension between what the users remember about the building and what it is now. Instead the new hall is a blind box, a strange element because of its shape and dimensions.

The architects have been generated a landmark with a low cost solution. They use expressive iridescent ceramic cladding which changes with the varying light and harmonises with the site and the surrounding. This way, they have made a ¿highly? (could be insightful)  and intelligent choice of material because not only does it give an ¿ethereal, temple-like? presence to the building it is also an economical solution. it solved the purpose of giving economical solution along with the grand look.

Changing the collective memory.

Working with anthropology and sociology to produce a change in the collective memory. Social and artistic action in the building. 60 looks, 60 artists had been invited to paint in one day the jambs and lintels, on the white planel that has become the building.

Aitor

MUCA is located in the interior Alguena, a small village in the interior Alicante County (economy based in agriculture and marble industries). This building has been designed to bring together all the activities related to music and culture that took place in the village.

The plan of the building is square. The interior courtyard is composed by the old Guardia Civil’s quarter and the new Auditorium.

• Rehabilitate: Old Guardia Civil quarters has a load-bearing wall structure in good state of maintenance. And its shaped in U with an interesting central courtyard for this architectural program.
• New construction: It’s separated from the old by new adapted stairs that are enclosed in glass boxes lighted from overhead, that try to add fragility to the rotundness of the whole.
• Central Courtyard: It is designed without any fixed element for máximum flexibility.

In the existing building they propose the rehabilitation without formal changes. Simply recovering all the old constructive techniques and turning them white with different grades of shine with the intention of generating tension between what the users remember about the building and what it is now. Instead the new hall is a blind box, a strange element because of its shape and dimensions.

The architects have been generated a landmark with a low cost solution. They use expressive iridescent ceramic cladding which changes with the varying light and harmonises with the site and the surrounding. This way, thay have made highly and intelligent choice of Material because it solved the purpose of giving economical solution along with the grand look.

Changing the collective memory.

Working with anthropology and sociology to produce a change in the collective memory. Social and artistic action in the building. 60 looks, 60 artists had been invited to paint in one day the jambs and lintels, on the white planel that has become the building.