1. The first Cradle to Cradle building in France, designed by Carlos Arroyo Architects
    The Madrid-based office is the author of the first Cradle to Cralde building certified in France, implemented together with local team Ekoa; it is a seed building, the "Project House" (Maison du Projet), a place meetings and debates to introduce the circular economy in the metropolitan area of Lille.
    After the closure of the factory complexes of Roubaix, the Metropolis of Lille (MEL) decided to implement an urban regeneration plan for an area of approximately 1,000 hectares, to be completed in 10 years, introducing productive, cultural and residential activities around the idea of circular economy, in which the concept of waste does not exist.
    The first step, the Maison du Projet de La Lainière de Roubaix, has a double function; On the one hand, it will be the operational center for the project, with its offices, meeting spaces and multipurpose room, for future competitions, exhibitions, presentations and workshops that help materialize this innovative economic, social and environmental concept; on the other hand it has an exemplary mission, to demonstrate that a building can be built following the principles of the circular economy, within a normal budget for a public building.

    C2C: Cradle to Cradle - Circular Economy
    According to the principles of C2C, the construction was made in such a way that the materials could be reused, distinguishing the technological ones - screwed on to the surface so as to be easily reused - and the biological ones - without added chemicals for their possible safe reincorporation into natural cycles. There were no earthworks, the foundations being recoverable metal piles driven into the ground; The entire structure and façade can be disassembled and reassembled for possible reuse; most of the materials employed are biodegradable and / or recyclable; the building is powered by clean energy, the sanitation systems do not generate waste but fertilizer for the vegetation implanted in the environment, selected to neutralize some existing pollutants in the subsoil due to the old industrial activity.

    Flexibility and Superfurniture
    The building structure is a CLT honeycomb, resulting in a backlit facade reminiscent of the old factory buildings. This structure generates two clearly differentiated types of spaces: the alveoli on the façade that house rigid programs such as offices, bathrooms, kitchen, etc. on the lower ground; while the upper cells act as warehouses, facilities rooms, etc. Behind the alveoli large hall can accommodate almost any activity. Uses are facilitated by a collection of mobile furniture that equips the space: A large staircase, a series of tubular lamps, a portable office that provides data, electricity and light, an inflatable structure that unfolds in a few minutes, a plug-in kitchen with wheels, or a wardrobe.

    Energy Management: Thermal Onion
    The configuration of the building facilitates its heating by establishing various degrees of thermal comfort. One of the upper alveoli houses a pellet hopper that feeds the biomass boiler. The alveoli, of smaller dimensions, are heated by the boiler while the large hall accumulates heat in winter with a polycarbonate cover that serves as a greenhouse while in summer it generates cross currents with a system of louvers on the facade. In addition, part of the building's energy comes from the thermal and photovoltaic panels in the roof.

    Water Management: Ecomonumentality
    The main façade of the building, composed of a series of slats that protect the building from direct sun exposure to the south, are interrupted by 3 large black chimneys. It consists of 3 dry toilets that eliminate the use of water in the sanitation of the building generating a cycle of composting. The black columns heated by the sun facilitate the evaporation of liquid waste, with the help of the mechanical wind-operated turbine at the top of the chimney. These façade elements are an eco-monumental manifest of the building's commitment to the environment.
    On the other hand, the building is equipped with a rainwater collection and storage system housed in one of the upper alveoli. The system consists of two recycled barrels and a filter. Excess water is led to a pond next to the building. The filtered water can be uses for maintenance purposes and gardening.

    Demonstration building
    The function of the building as a forum for debate on the circular economy, and at the same time as an example of architecture integrated in it, emphasizes the need to build step by step a new culture that allows us to face the environmental challenges of the coming decades.

    # vimeo.com/290775419 Uploaded 3 Plays 0 Comments
  2. Refurbishment and extension of the building in the Plaza de Puerto Rubio for the Save The Children Foundation, Madrid

    Affection Architecture

    The building for Save The Children Foundation is a strategic point in the San Diego neighbourhood for the social work that this NGO carries out in the Vallecas area. The project involves the refurbishment and extension of the current building so as to address the needs of a child care centre. The proposal is based on adding a new body that is suspended over the existing structure. This extends the building and configures a new façade, as well as a new communications and service core.

    # vimeo.com/283519989 Uploaded 84 Plays 0 Comments
  3. Spanish Pavilion at the Venice Architecture Biennale 2018

    360 video at: youtu.be/z-1lp75xY9E

    becoming, the motto chosen for the Spanish Pavilion in
    this edition of the Venice Biennale 2018, presents Spanish
    architecture as seen from learning environments, by means of
    actions, discourses and pieces of work developed by a
    wonderful set of architects that during the last years have
    questioned the limits and conditions previously assumed by our
    discipline.
    becoming by means of a critical approach put into practice,
    discovers the complexity of our operational logics, in an open
    intellectual experience where students cook up their
    conflicts.
    becoming understands the curatorial project as a research
    project and the Venice Biennale as an opportunity to confront
    concepts and ideas, where the pavilion becomes an invitation
    to go over the basis of architectural practice and what is
    going on in our planet.
    becoming is built via the means of 55 terms that relate to
    architecture: not the architecture of the future but the one
    of the present; an alternative present which explores new ways
    of carrying out the profession, with different formats,
    interests and emerging topics which require other tools, other
    capacities and other ways of looking at them
    becoming draws on the floor these 55 adjectives which
    spatially organize the works tattooed on the walls of the
    regained pavilion, currently empty, transformed by Vaquero
    Palacios in 1952. With no hierarchical order, no categories
    and from all the different scales at the same time, the 435
    selected contributions by a board of experts via a public open
    call, are placed by closeness and affinity, sharing issues of
    concern and ways of being in the world.

    becoming turns the pavilion into a freespace that can be read
    as a data base or as an immersive landscape where each visitor
    chooses his/her speed and his/her way through the material
    space and the virtual one. (b-e-c-o-m-i-n-g.com)
    The Biennale comes to an end, but becoming continues; it
    remains on the internet and in the garden at the rear end of
    this small pavilion, created by all of us, during the next six
    months.

    Comisaria del Pabellón de España en la Bienal
    de Arquitectura de Venecia 2018
    Curator at the Spanish Pavilion for the 16th International Architecture Exhibition
    La Biennale di Venezia 2018

    Atxu Amann

    Comisarios Adjuntos Curatorial Team
    Andrés Cánovas, María Mallo, Nicolás Maruri
    y Gonzalo Pardo

    Imagen y pabellón virtual Image and virtual pavilion
    bestiario

    Equipo de diseño Design Team
    gráfica futura + Ioannes Busca
    + Open this end + Temperaturas Extremas
    Intervención exterior Outdoors Intervention
    Ana Matos, Iñigo Ocamica, Antonio Samaniego
    e Iñigo Tudanca

    Participantes Participants

    Estudiantes de entornos educativos españoles
    (2012-2018)

    Equipo de expertos Expert Commitee
    Alberto Alarcón, Eva Álvarez, Irma Arribas,
    Uriel Fogué, Manuel Gausa, Andrés Jaque,
    María Langarita, José Morales, Enrique Nieto,
    Guadalupe Piñera, Almudena Ribot
    y Juana Sánchez

    Colaboradores Collaborators
    After Belonging, Victoria Acebo, Carlos Arroyo,
    Pedro Astigarraga, José Ballesteros, Maite Borjabad,
    Nerea Calvillo, Iñaki Carnicero, Izaskun Chinchilla,
    Raquel Congosto, Juan Domingo Santos, Javier Echeverría, Alberto Estévez, Guillermo Fernández Abascal, Jacobo Gª-Germán, Susana García Bujalance, Paula García Masedo, Andrea González, María José Ferrero Ibargüen, Juan Herreros, Manuel Jiménez, Amparo Lasén, MAIO, Josep Maria Montaner, Nacho Martín, Vicente Monroy, Paula Montoya, Zaida Muxi, Alberto Nanclares_Basurama, n’UNDO, Manuel Ocaña, Manuel Pascual_Zuloark,
    Ana Peñalba, José Pérez de Lama, Pedro Pitarch, Carlos Quintans, Sampling Contexts (Begoña de Abajo Castrillo, Enrique Espinosa Pérez, Carlos García Fernández, Eva Gil Lopesino, Ángela Juarranz Serrano, Álvaro Martín Fidalgo
    y Borja Sallago Zambrano), Renata Sentkiewicz, Ter, Eduardo Vivanco y Remedios Zafra

    Gestión de contenidos Content Management
    Luis Álvarez, Kiara Firpi, Alba González, David J. Iniesta, Elena M. Millana, Aida Red y Fernando Segovia

    Traducción Translation
    Ángela O’Driscoll

    Fotografía y video Photography and video
    imagen subliminal

    Comunicación y medios Media
    Paty Núñez Agency

    Producción Production
    Clorofila Digital, Pellisa Ràfols y Nuonled

    Con el apoyo de Supporters
    Sika, Don Apolonio, Pata Negra, La Española, Don Simón, Auara , Kriskadecor, Ecoluciona, Elisa Tomat, Jaulas abiertas, Cosentino y Constructora San José

    Agradecimientos Acknowledgments
    Kirssy Vasquez, Pablo Bes, Laura Luengo, Sara Miguélez,
    Franco Longo, Inés Maruri, Andrés Rubio y Fabio Tentellini

    # vimeo.com/273423593 Uploaded 3,350 Plays 0 Comments
  4. 100 Norfolk, by ODA:
    Autonomous, profit-driven, and constrained by thorough regulations, Manhattan blocks can reveal unexpected urban possibilities.
    On 100 Norfolk, an inner lot was meant to host a through-building, 70 feet away from the corner with Delancey St. In a fluid give and take between the governing rules and development ambitions, 100 Norfolk takes the typical building model and flips it on its head, creating a new relationship in the New York development parameters.
    Rather than growing vertically, 100 Norfolk grows diagonally, enjoying increments of area every two floors. Studying the adjacent properties revealed 11,000 square feet of available air rights that could be incorporated to the development. This redistribution of area had to happen under a strict zoning height limitation, forcing the volume to exploit its cantilevering potential. This maximized the area towards the top of the building and in consequence improved its efficiency. Sixty percent of the floor area at 100 Norfolk is located above the middle floor. The massing configuration increases the building’s roof area, generating a top floor that boasts double the footprint of the ground floor. In addition, one of the roofs of the merged properties is integrated as an amenity terrace (2,000 SF).
    While the cantilevers followed an efficiency logic, the concession of the light and air easement readdressed what was meant to be a naked party wall to the main façade of the building. Now the building turns as it grows, it is accessed from Norfolk Street, the elevator core is pushed far from Delancey’s front and the apartments surround it in a 180-degree setup. The building direct translation of the reversed massing diagram is accomplished through a system of exposed structural trusses. This unconventional morphology is celebrated on the building skin, making it a form of identity and value.
    The building’s cantilevered form and achieved openness, freezes an urban moment on the corner of Norfolk and Delancey. Through the advantageous utilization of building code and air-rights, 100 Norfolk grows from an interior lot building, to a corner lot icon.
    This and other stories about the realities architecture faces in the evolving landscape of New York can be found in ODA’s first book, ‘Unboxing New York’

    Facts
    Gross SF: 50,000 SF
    Height: 120’
    Floors: 12
    Amenities: 670 SF Gym + Terrace Lounge
    Outdoor Private: 3,800 SF
    Outdoor Semipublic: 4,000 SF
    Number of Units: 38
    ST: 2
    1BD: 19
    2BD: 13
    3BD+: 4
    Completion: April 2018

    Credits:
    All images and video by: Miguel de Guzman / Imagen Subliminal
    Diagrams by: ODA
    Music in video by: Milkshake Daddy

    # vimeo.com/265657252 Uploaded 18.3K Plays 0 Comments
  5. ARE WE HUMAN? : The Design of the Species : 2 seconds, 2 days, 2 years, 200 years, 200,000 years

    Curated by Beatriz Colomina and Mark Wigley.

    Designed by Andrés Jaque / Office For Political Innovation
    (Laura Mora, Roberto González, Paola Pardo, Marta Jarabo, Isabel Sánchez, Danay Kamdar, Pablo Maldonado, Solé Mallol, Valentina Marín). Structural Consultants: Mechanism

    Princeton University. School of Architecture

    Film by ImagenSubliminal

    A galaxy of designers, architects, artists, theorists, filmmakers, historians, scientists, labs, centers, institutes, and NGOs respond to ARE WE HUMAN? manifestó. The entire School of Architecture building will be filled with a dense collage of overlapping provocations on the question ARE WE HUMAN?
    Art meets science meets reflection meets speculation in a new kind of conversation about design. The exhibition thinks about the fact that the human is unique in its capacity to design but is also continuously redesigning itself in a never ending loop that flings it into the world in unexpected ways. The human is a question mark and design is simply the way of engaging with that question.
    Every participant scrutinizes the human from a different angle. Unspoken by Diller Scofidio + Renfro explores Darwin's observation that only humans blush. Forensic Architecture considers the question of whether orangutans should be granted human rights. Orkan Telhan offers his Microbial Design Studio, an inexpensive automated and networked countertop biofabrication machine to design, culture, and test genetically modified organisms. Laura Kurgan changes architectural thinking to the scale of the neuron and leading brain scientists from the Seung Lab at Princeton University and the Zuckerman Institute at Columbia University present the latest thinking about the brain as both the mechanism of design and a plastic architecture that is redesigned even by thoughts. MOS Architects wrap space with an army of unemployed scale figures. And many more. This array is supplemented by installations on The Unstable Body, Are We Normal?, Homo cellular, and Design in 2 Seconds — prepared by the curatorial team and a joint team of Princeton and Columbia University students.
    The overall effect is a kaleidoscope of artistic, technical, philosophical, theoretical, and ethical reflection on the intimate relation between "design" and "human."
    Exhibition participants include Diller Scofidio + Renfro, Eyal Weizman and Forensic Architecture, Hito Steyerl, Marshmallow Laser Feast, MOS Architects, Armin Linke, Philipp Meuser, Galina Balashova, Francois Dallegret, Center for Land Use Interpretation, Laura Kurgan, Orkan Telhan, Lu Yang, Tom Keenan and Sohrab Mohebbi, Lorenzo Pezzani, Common Accounts, Daniel Eisenberg, Juan Herreros, Amy Robinson Sterling, Sebastian Seung, Lucia Allais, Joyce Hsiang and Bimal Mendis, Lydia Kallipoliti and Andreas Theodoridis, Ali Kazma, Axel Kilian, Spyros Papapetros, V. Mitch McEwen, and Universal Space Program.

    # vimeo.com/255477702 Uploaded 329 Plays 0 Comments

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