tag:blogger.com,1999:blog-53703669155039220732024-03-13T21:59:12.259+01:00SOMOS.ARQUITECTOS.ESBURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comBlogger48125tag:blogger.com,1999:blog-5370366915503922073.post-74347153725897607182018-06-03T22:16:00.000+02:002018-06-03T22:46:59.540+02:00BIOMEDICAL SCIENCES BUILDING - CARLOS III UNIVERSITY MADRID<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #666666;"><span style="background-color: white; color: #6aa84f; font-family: "trebuchet ms" , sans-serif;"><b>SOMOS.arquitectos</b></span><span style="background-color: white;"><span style="color: #666666; font-family: "trebuchet ms" , sans-serif;"> </span><span style="color: #666666;"><span style="font-family: "trebuchet ms" , sans-serif;">proposal along with Janine Galiano for the Biomedical Sciences Building for the Carlos III </span><span style="font-family: "trebuchet ms" , sans-serif;">Campus in Getafe (Madrid)</span></span></span><span style="font-family: "trebuchet ms" , sans-serif;">.</span></span></span><br />
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The proposal relies
on four main ideas:<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">01.- Dissolve
the topographic break that borders the northern and western limits of the plot.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">02.- Strengthen
the landscape continuities between the existing Paseo de la Estación and the
pedestrian walkway of the campus.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">03.- Clearly
define the boundaries of the plot and in a very specific way, the accesses.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">04.- Limit the facades
surfaces oriented to the west to favor summer comfort.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">ORGANIZATION OF
THE PROGRAM<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The most
crucial concept of the project is to use the program to establish a LOGIC that
apart from giving a solution to PROGRAM, can also deal with STRUCTURE, SPACE
and FLOWS (people / fluids). The competition proceedings identified three
functional groups that we wanted to synthesize in two:<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">01- Spaces
dedicated to pedagogy, which are housed in the first two levels, called
Plateaux.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">02- Spaces
dedicated to the research staff, offices, located in the last two levels.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The hall adopts
the morphology of a GALLERY that defines the HEART and the "foyer" of
the building. Developed on two floors, the gallery has two entrances: a main
entrance that connects the building with the pedestrian walkway of the campus,
and a second one directly at level with the Paseo de la Estación.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">An emblematic
space and a representation of the pedagogical function of the building, the
gallery offers a generous volume that gathers several uses: reception, distribution
for the pedagogical areas and offices, collective work spaces or relaxation
spaces for the students ... Between the two levels of the gallery, several
physical, visual and functional relationships are developed along its length, creating
a shared, distended and complementary SPACE OF COEXISTENCE and STUDY around the
pedagogical spaces (classrooms and laboratories).<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">PEDAGOGICAL
SPACES AND FLEXIBILITY OF USE<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The inevitable
evolution of functional uses and needs must be considered as a requirement for
the durability of a building. The conception of pedagogical spaces integrates
that condition. For the classrooms as well as for the laboratories, the
partition system is totally independent of the structure, allowing for a
maximum flexibility of use over time.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The structure
is an indispensable tool to guarantee that freedom. Thus, on the ground floor
the number of supports has been minimized. The available pillars support two
Vierendeel beams that are located on axes V and X and that occupy the entire
height of the Laboratory level. To span the distance of almost 20 meters
between the two beams, a system of hollowed prefabricated wooden floor is used.
This extra thickness allows installations to be distributed. These Vierendeel
beams support the load of the offices level, that thanks to the dividing
bearing walls between each unit, work as one single slab.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The ground
floor houses all the classrooms. Following the will for a pedagogical
environment adapted to new learning methods, they can be extended through a
system of modular panels, opening towards the gallery or onto another
classroom.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">The
laboratories and the animal center are located on the first floor, also
arranged in such a way that the distribution gallery offers complementary
spaces for study or relaxation, in turn opening to outdoor terraces. A series
of voids and perforations allow to establish visual connections with the lower
floor and thus, building a true programmatic and perceptive unit.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">LEVELS I and II<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">All offices
occupy the two upper floors of the building. They are grouped into small units
structured around the distribution spaces which are enriched with outdoor
terraces, or with free spaces without an assigned function. They can be used as
shared work areas or being dedicated to relaxation, in order to favor a comfortable
working environment.</span></span></div>
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-71281535124791208422017-12-20T21:38:00.000+01:002017-12-21T12:59:57.306+01:00NEW EXHIBITION CENTER IN BERGAMO (ITALY)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #666666;"><span style="background-color: white; color: #6aa84f;"><b>SOMOS.arquitectos</b></span><span style="background-color: white;"><span style="color: #666666;"> </span><span style="color: #666666;">proposal for the Exhibition Center and Headquarters for <a href="http://www.granulati.it/it/" target="_blank">Granulati Zandobbio</a> in Bergamo (Italy)</span></span>.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #666666;"><br /></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Most of the buildings within this industrial area already take full advantage of the maximum high of 10 meters. There are other ways to offer a distinct object, either from the long distance while driving or from an immersive experience when entering inside. Complying with the necessary 30m set-back, the project tries to be as long as possible, in order to keep eye contact with the driver as much as possible. This elongated "organism" will arrange the required areas in parallel to the A4, using a system of spatial filters to qualify the transition between each space. From the A4 auto-route upwards:</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">-the ROAD: the multipurpose parking is designed for 150 cars. It’s finished in GRAVEL-FIX® system, offering 4.460m2 of draining surface. Two colors will be used so as to draw the word GRANULATI ZANDOBBIO, visible when arriving by plane to the nearby airport. Some parts could also be used as an outdoors exhibition area.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">-the PATH: the project is contained in this central band, a surface finished with CUBETTI AUTUMN®. It covers 2.300m2 and goes from one side of the site to the other, allowing people to spread from the inner hall to those exterior spaces, where open-air events could take part as an extension of the main hall.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">-the FOREST: In order to protect the building from the truck road, both visually and acoustically, a stretch of land is completely planted with trees. It also helps as a background, giving a friendly view to drivers passing by the industrial area, but also to offices, which are sometimes open to that side or to the inner hall. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The building follows the same logic: three bands give rise to the project in both directions. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">-PARALLEL to the A4: a central main band, called the TUNNEL is embraced by two service bands running along. The first parallel band serves to deploy installations and in the ground floor, bar and stockage. The central band (11,375 meters wide), becomes the hall, illuminated from above. It is accessible from both sides of the site, allowing full continuity. One grand spiral staircase allows direct access to the mezzanine level, just above the entrance. The third band holds the rest of the program: offices for both Stone City headquarters and others to be rented, services stairs and elevators and toilets. The central block in this band allows for an easy division between both kinds of offices and the half level difference helps to deal with privacy. The guardian apartment and his office are also here, on ground level.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">-PERPENDICULAR to the A4: the wooden structure floats in the air in order to delimitate a completely open-air area, an outdoor patio which helps the transition between two different scales (architectural and industrial) and which could be eventually covered with some textile material. Afterwards, there is a central band comprising entrance + reception on the ground floor and the mezzanine on the upper floor, overlooking both the main space and the outdoor patio. Finally, the grand hall, as described in the preceding paragraph, 8 meter high, including structure.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">The tower is part of this volume, elegantly growing up so as to give the position of the building from a long distance.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>CONSTRUCTION</b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Construction and materiality have been developed in terms of character and identity as well as in terms of sustainability and performance. The whole building is based on a square grid of 3,25 meters. The structure is in laminated wood (beams, pillars and slabs) with a metal bracing system. The proposed dried-construction systems allow a fast and quality implementation, as well as great flexibility of the spaces, which could evolve during the years. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Since every space responds to the same 3,25m module, all panels and partitions are interchangeable. Thus, the proposal you see in the boards is one within a thousand possibilities. Several materials can be used depending on the amount of noise and visual control between two spaces. Polycarbonate panels, typical from industrial buildings, are used thoroughly in façades when light is necessary. Lightweight aluminum panels are also an option, even though we could use ALTA-PIETRA® stone systems, as it is the case for the brise-soleil panels, placed in some specific spaces. Furniture is also extensively used as a division, once again, thanks to the modular nature of the whole structure. </span><br />
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-4027507761644993062017-12-19T13:13:00.000+01:002017-12-21T13:16:22.190+01:0080 SOCIAL HOUSING UNITS IN CALVIÁ (MALLORCA)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #666666;"><span style="background-color: white; color: #6aa84f;"><b>SOMOS.arquitectos</b></span><span style="background-color: white;"><span style="color: #666666;"> </span><span style="color: #666666;">proposal for 80 social housing units in Calviá (Spain)</span></span>.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #666666;"><br /></span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Nowadays, the three plots belong to three different housing institutions, which have agreed to organize one competition in order to have a single coherent solution, however to be built in three different stages. Thus, we propose to structure all the apartments into two compact linear volumes running along the plot in the west-east direction. This allows combining all the open spaces belonging to each institution into one single big shared square:</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">01.- The garage takes advantage of the 4 meters height difference between the northern and southern limits to minimize the excavation. Instead of having three garages with three independent entrances, we propose one single access that is implemented right in the boundary between parcels 01/03, so that they can be executed between the different phases.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">02.- That same height difference helps defining a large PLATFORM, shared by ALL neighbors, fully open to the south and free to be inhabited and appropriated. It is punctuated by a series of pergolas, game spaces, as well as all necessary surface for phytodepuration by evapotranspiration, following the “French” vertical flow scheme, which does not need a primary treatment system with a septic tank. It also proposes available surface for urban gardens that reinforce the social relationships of the entire community</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">All apartments are composed through the addition of one single unit or cell: 3,90x3,10 meters. Against the idea of a hierarchical house made up of different monofunctional spaces, we proposed an isotropic house. This allows a proportional growth according to the number of “rooms”, since we are adding cells with equal surface, as well as flexible spaces. A basic network of technical facilities located in the fixed elements provides basic services. Every time, a prefabricated structure is proposed, adjusting to the rigorous modulation of the basic cell, and establishing three different levels:</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">-Plinth: reinforced concrete structure + load-bearing walls in mares stone, serves as foundation for the light housing cells placed on top.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">-House units: cross-laminated timber panels (KLH), made with layers of crossed red spruce boards.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">-Public space: textile surfaces mounted on bolted steel metal structure.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">SELF-SUPPORTING LAMINATED WOOD WALL SYSTEM (KLH)</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">In the housing plan, the internal partitions and the enclosure are prefabricated in self-supporting panels, taking into account the constant and repetitive modulation, which guarantees savings during fabrication and installation on site. There are only 6 indoor pieces and two facade modules. The enclosure configures a clear, invariable and unlimited envelope, optimizing its level of execution and implementation, also prioritizing low energy and environmental consumption throughout the process. Once the isotropic base structure is finished, the envelope is complemented by a sandwich of double OSB board with its corresponding finishes, and an extruded polystyrene core of 25 cm.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">The use of these systems of PREFABRICATION and SUPERINSULATION, applied together with the principles of the PASSIVE HOUSE and adequate techniques of ventilation and solar control will allow reaching standards of high energy efficiency as well as the reduction of the ecological footprint. The system is also fully recyclable thanks to this constructive technology. It also simplifies deconstruction and dismantling in case of demolition after the expected 40 year’s operating cycle, as all used materials can find again a new opportunity in the market.</span><br />
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-2643459062054614552017-04-06T23:40:00.001+02:002017-04-06T23:40:19.590+02:00NEW KINDERGARTEN IN LLUBÍ (MALLORCA)<div style="float: left; width: 33%;">
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="color: #666666;"><span style="background-color: white; color: #6aa84f;"><b>SOMOS.arquitectos</b></span><span style="background-color: white;"><span style="color: #666666;"> </span><span style="color: #666666;">proposal for the new kindergarten school in Llubí</span></span>.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #666666;"><br /></span></span></span><br />
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">The current topography is the starting point of the project. The plot is one meter below the official alignment. This height will be the germ of an idea: the future kindergarten will be placed ONE METER BELOW the street level (-1). The playground is situated to the south looking for an appropriate sun exposure, the classrooms being connected directly to this outdoors space. A large central lobby articulates the last strip, the closest one to the street, where the non-educative program is found (administrative, services, etc.).<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Everything that happens below ground will belong to THE CHILD'S SCALE (-1). This simple operation serves to accommodate a whole arrangement of children's activities within this limit. It ceases to be a simple difference of one meter height to become a programmatic band that articulates the courtyard in continuity with the classrooms (sand circuit, rubber mountain, climbing wall, tunnels, etc.). This strategy is now extended inside the building. There, this one meter height becomes a programmatic ribbon that allows us to distinguish two worlds: a first one within child’s reach, one meter underground (-1), a second one above,
coincident with the adult scale (+1).<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><b>(+1)
ADULT SCALE: the excavated house</b><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">The external volume will be a house that shelters the adult (+1). It is an envelope placed above ground which is then manipulated through excavation in two steps. First one, two patios are removed from the prismatic solid, thus defining the entrances: the main access and the exit to the playground. Afterwards, two extractions form two internal courtyards that serve to illuminate the interior and act as a vanishing point.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><b>MATERIALS: sandstone (-1), exposed concrete (+1) and wood</b><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Following the same argument, everything on the scale of the child, a meter below ground
(-1), is solved by typical sandstone extensively used in the area. Above ground, the scale of the adult (+1), it is solved in exposed concrete tinted in terracotta, a chromatic range dominant in the context, so that the new building integrates perfectly in the urban tissue. The rest (interior and exterior carpentries, interior furniture, etc.) is finished in wood.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><b>(-1)
CHILD SCALE: the wooden house</b></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">The metaphor of the house is replicated inside: every classroom hosts a wooden house. It gives shelter to child’s functions regarding learning and autonomy (rest, body hygiene, food, etc.). It has a double access: at the scale of the child (-1) and at the scale of the teacher (+1). It acts as a backdrop for classroom activities, where this difference in height structures once again a whole series of pedagogical corners.</span><o:p></o:p></span></div>
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-16092862782097398332017-02-26T13:57:00.000+01:002017-04-27T12:48:27.933+02:00COLLABORATION WITH ESTUDIO CARME PINÓS. EXECUTION PROJECT AND ON-SITE ASSISTANCE FOR 107 APARTMENTS IN VALDEBEBAS (SPAIN)<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: "arial" , "helvetica" , sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #666666;"> collaborates with </span><b><span style="color: #38761d;"><a href="http://www.cpinos.com/" target="_blank">Estudio CARME.PINOS</a></span></b><span style="color: #666666;"> to develop execution project and follow work on site for 107 apartments in Ciudad Aeroportuaria - Parque de Valdebebas, Madrid (Spain). Tasks included overseeing the architectural aspects of the development of the design, production of the construction documents and specifications plus complete assistance with execution control, detailing design and on-site supervision, ensuring that works are carried out to specific standards set up by <a href="http://www.cpinos.com/" target="_blank">Estudio Carme Pinós</a>.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #666666;"><br /></span></span></span><br />
<span style="color: #5b5b5b; font-family: "arial" , "helvetica" , sans-serif;">Given the recent urbanization of the area, we are facing a lot without any close references in the surroundings. This condition leads us to generate a large commercial base on the ground floor aligned to the Avenida Juan Antonio Samaranch. In its central part, we open up a gap in order to generate the main access to the apartment block, as well as to the back garden. This platform supports four large fragmented volumes, thus breaking the monolithic and linear character of the building intended in the original urban planning. These volumes vary in height, so that the building adapts itself to the different scales of the immediate environment: from the tallest ones adjoining the south side, to the more open scale and green spaces in the C / Estanislao Pérez Pita.</span><br />
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<span style="color: #5b5b5b; font-family: "arial" , "helvetica" , sans-serif;">The inner part of the plot contains a swimming pool, a paddle court, games and garden lounges, always respecting the 10m setback from the neighboring plot. The depth of the commercial premises varies with respect to the residential blocks, thus creating a portico all along the façade. It connects all entrances, offers areas protected from the sun and rain for the users and allows access to common areas reserved for community rooms, changing rooms, and facilities spaces on ground floor.</span><br />
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<span style="color: #5b5b5b; font-family: "arial" , "helvetica" , sans-serif;">The layout of the different typologies of housing is assembled around three entry halls, with independent vertical communication cores and a general distribution of 6 dwellings per floor, except in the last floors that are reduced to 3 in order to generate the articulation between the fragmented volumes.</span><br />
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<span style="color: #5b5b5b; font-family: "arial" , "helvetica" , sans-serif;">The houses are structured following a linear scheme, with all the rooms and kitchen facing the same facade and a central band where we can locate bathrooms, toilets and entrances. In this way, the interior of the house is given great flexibility, allowing the variation or adaptation of the different needs of the functional program required by the client or possible future needs.</span><br />
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<span style="color: #5b5b5b; font-family: "arial" , "helvetica" , sans-serif;">The facades of each one of the volumes that make up the residential complex are composed of prefabricated modules from floor to ceiling. All the windows open onto galleries and outdoor terraces which support the double façade system, comprising a mobile sunscreen lattice according to the layout that every user might choose. Those sliding panels facilitate the light control and acoustic insulation</span><span style="color: #5b5b5b; font-family: "arial" , "helvetica" , sans-serif;">.</span><br />
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-60048825148723749032017-02-23T14:52:00.000+01:002017-04-26T15:26:21.553+02:00COLLABORATION WITH ESTUDIO CARME PINÓS. COORDINATION EXECUTION PROJET FOR 96 SOCIAL HOUSING UNITS IN SAINT-DIZIER (FRANCE)<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: "arial" , "helvetica" , sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #666666;"> collaborates with </span><b><span style="color: #38761d;"><a href="http://www.cpinos.com/" target="_blank">Estudio CARME.PINOS</a></span></b><span style="color: #666666;"> to coordinate execution project for 96 social units in Saint-Dizier (France). Tasks included overseeing the architectural aspects of the development of the design, production of the construction documents and specifications (APS/APD/PRO/DCE).</span></span><br />
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<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;"><b>PARTI ARCHITECTURAL ET URBAIN</b></span><br />
<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">Le projet se développe autour de l’idée de former une petite communauté. Les bâtiments prennent forme dans une volonté de créer un espace public.</span><br />
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<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">Une place centrale les bâtiments et les met en relation avec le projet de logements de la rue Godard Jeanson. Ainsi le décalage entre les édifices en plan a permis d’un côté de créer cette place à caractère urbain et de l’autre de les entremêler à la végétation, donnant lieu à de petits parcs allant vers le fleuve.</span><br />
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<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">Depuis le Parc du Jard, l’ensemble s’intègre avec les arbres et la végétation environnante. Cela, ajouté au mouvement des toitures et au jeu des fenêtres, fait que depuis le centre de Saint-Dizier, cette intervention apparaisse comme un petit quartier plein de vibrations et non comme une intervention monolithique rivalisant avec la nature.</span><br />
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<b style="color: #666666; font-family: arial, helvetica, sans-serif;">LE CONTEXTE</b><br />
<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">L’opération s’implante sur le lot 4 du site de l'ancien centre hospitalier dont le quartier fait l’objet d'une démarche "Ecoquartier" et d'un permis d'aménager. Le projet est situé en retrait par rapport à la rue Godard Jeanson et aux logements de l’architecte Jean Paul Deschamps, entre la voies nouvelle "C" et le bâtiment conventuel à l’est et voie nouvelle "D" ainsi qu’un nouvel ensemble de logements individuels à l’ouest.</span><br />
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<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;"><b>LE BATI</b></span><br />
<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">Le projet est composé de quatre bâtiments, représentant 96 logements en total allant de R+2 à R+4 et défini par la volumétrie de chacun des édifices. Ceux-ci sont ancrés sur une plateforme comprenant les parkings et les caves (sous terrains) et permettent aux espaces extérieurs de conserver leur continuité avec les rues adjacentes et ainsi de renforcer la cohérence urbaine de l’ensemble. C’est donc le résultat d’une double volonté de vouloir créer tant un espace public autour duquel une vie de quartier puisse prendre forme, que d’intégration par rapport à l’environnement dans lequel ils s’implantent.</span><br />
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<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">La forme et la volumétrie particulière de chaque édifice permet ainsi d’avoir une lecture d’ensemble du projet, qui s’efforce de répondre au mieux à la demande tout en créant des logements variés et qualitatifs.</span><br />
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<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">- Les bâtiments seront ainsi recouverts d’un enduit peint en blanc et couvert d’une toiture zinc à joint debout prépatiné naturel.</span><br />
<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">- Des jardinières en acier de couleur gris foncé rythment la façade ainsi que des volets coulissant sur rail apparent en métal peint d’une couleur gris clair.</span><br />
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<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">Les appartements se développent tous autour de l’idée de relier la cuisine au salon, tous deux articulés par une terrasse. Cette idée, ajoutée à la conviction des avantages d’une circulation transversale de l’air, a configuré la distribution de tous les logements.</span></div>
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-22769188217388002852015-10-27T13:53:00.000+01:002015-10-27T13:59:36.611+01:00COLLABORATION WITH ESTUDIO CARME PINÓS. ON-SITE ASSISTANCE FOR BIOMASS HEATING POWER PLANT IN SAINT-DIZIER (FRANCE)<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> collaborates with </span><b><span style="color: #38761d;"><a href="http://www.cpinos.com/" target="_blank">Estudio CARME.PINOS</a></span></b><span style="color: #666666;"> to develop work on site for a Biomass heating power plant in Saint-Dizier (France). Tasks included complete assistance with execution control, detailing design and on-site supervision, ensuring that works are carried out to specific standards set up by <a href="http://www.cpinos.com/" target="_blank">Estudio Carme Pinós</a>.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"><br /></span></span></span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Le projet se développe selon trois axes majeurs : </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;"><b>01</b>.- Intégrer le projet dans son environnement par son implantation qui soit un signal d'entrée fort dans la ville.</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;"><b>02</b>.- Rationnaliser l'emplacement et le fonctionnement du bâtiment par une organisation simple et efficace. D’abord, réduire la surface de terrain utilisée pour permettre l'extension de la chaufferie selon un phasage en deux temps. Ensuite, maîtriser les coûts de construction et de maintenance.</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;"><b>03</b>.- Développer une architecture claire et identifiable utilisant des techniques pérennes.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">ORGANISATION URBAINE</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">La parcelle longe la route de Nancy en limite du vert bois. Sa position d'entrée de ville sur un point haut du territoire de Saint-Dizier permet au projet d'être un point de repère important et identifiable dans la ville en vis-à-vis avec le quartier d'habitation du vert bois.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">La chaufferie dispose d'un unique accès Rue des Minières facilitant le contrôle des véhicules entrants. La zone d'accès au sud-ouest de la parcelle permet aux engins d'entrer par la partie basse du bâtiment et de manœuvrer sur une plateforme prévue à cet effet. Au nord-est se situe la plateforme de livraison bois profitant du dénivelé existant du terrain pour pouvoir déverser la biomasse dans le silo par simple gravité. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">DYNAMIQUE: De grands éléments préfabriqués en béton matricé accentuent l'effet des volumes en pentes agissant comme des lignes de fuites vers le centre-ville. Les volumes viennent se loger entre ces lignes massives, en accentuent l'effet et fragmentent les éléments dans l'espace.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">INTÉGRATION: Les toitures s'orientent dans le sens de la pente du terrain dans un axe est-ouest tout en accompagnant le regard vers la ville. Dans le sens de la sortie de ville, la volumétrie s'élève en direction du vert bois et ancre le projet dans son contexte.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">ACCUEIL: Les bureaux seront éclairés naturellement afin de permettre un traitement bioclimatique et une qualité d'usage. Les bureaux seront composés par un espace d'accueil, une salle de réunion, un sanitaire affecté aux visiteurs, un vestiaire pour le personnel, une salle d'archive, un open-espace de bureaux et d'un espace de petite restauration.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">ENTRÉE PRINCIPALE: L'espace réservé aux bureaux et à l'accueil des visiteurs se situe sur la façade ouest du bâtiment. L'accès et la visibilité sur cette zone sera volontairement mis en avant et l'accès à cette entrée sera traité comme celle d'un espace paysager ouvert sur la ville. Un espace calme et séparé de l'espace de déchargement tant pour des raisons fonctionnelles et de sécurité que pour donner à ce projet une envergure publique.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">ÉCONOMIE: Afin de réduire l'impact du projet dans son environnement, les parties enterrées (silo et chaufferie) se situent naturellement sur les parties les plus basses du terrain afin de réduire au maximum les volumes de terres à extraire. Le projet favorise les éléments préfabriqués. Les systèmes constructifs mis en œuvre seront simples et durables afin d'optimiser les coûts tout en étant d'une qualité optimale.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">MATÉRIAUX: Les deux éléments principaux du projet seront des matrices préfabriquées en béton reprise par la structure poteaux poutres et une enveloppe métallique noire reprenant l'ensemble des couvertures et des façades (portails, châssis, auvents). Les éléments de clôtures seront réalisés par des éléments en béton de la même manière que les murs ainsi que par des clôtures verticales métalliques. La partie d'accueil et de bureaux sera réalisée par un espace vitré permettant de faire entrer naturellement la lumière.</span><br />
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-64537805075433259242014-12-21T14:38:00.000+01:002014-12-21T14:38:23.130+01:00NEW SCHOOL COMPLEX IN URSY. SWITZERLAND.<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for the new school complex at Ursy.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"><br /></span></span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Le site se trouve à la limite Ouest de la ville d'Ursy. Il se situe entre la zone urbaine et la campagne, très proche du centre-ville, toute en restant séparé de celui-ci par le terrain de football et le parking Sud existant. </span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Au Nord du périmètre d'implantation on peut trouver la Salle de Sport II, placée sur une plateau au but de l'axe piétonnier qui rejoindre l'ensemble avec le centre-ville. Le projet cherche à renforcer la création d'un pôle d'équipement avec deux bâtiments type pavillon qui se posent pour établir une continuité à cet axe autour du terrain football.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Les deux bâtiments de l'école composent un ensemble articulé autour de ce parcours et des nouvelles plateaux disposées le long du terrain (place de l'école, place de jeux), dessinées à l'image de rues et de places qui dialoguent entre elles à partir des décalages d'alignement y que, finalement, s'ouvrent vers la campagne à travers de la cour de récréation de l'école.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">De cette façon, la nouvelle école renforce la limite construite entre la ville et les terrains agricoles environnants, pour la création d'une limite précise des constructions en face d'un environnement rural. Cette implantation permet de qualifier de manière très claire les espaces publics et les aménagements paysagers du projet.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Le parcelle est dessinée comme une zone gazonnée que l'on peut traverser à pied, tout en continuité de la campagne, plantée avec des groupes d'arbres suivant les espèces locales. Dans cette zone, la cour de récréation trouve ça place, parfaitement délimité par les deux volumes bâtis de l'école, à partir desquels il y aura des surfaces minérales sur des plateaux échelonnées qui donne une solution par rapport à la pente du terrain. Ces plateaux, de nature sobre, apportent une continuité à l'axe piétonnier au moyen d'un même revêtement unificateur capable de réunir tous les bâtiments scolaires à l'intérieur du périmètre du concours, autour d'un parcours qui finisse au chemin des Planches, où se trouve la place de dépose. </span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">. </span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;"> </span></div>
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-23512686899643384252014-12-21T14:26:00.000+01:002014-12-21T14:26:33.632+01:00SPORTS PAVILION AT YVERDON-LES-BAINS, SWITZERLAND<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for the new sports pavilion at Yverdon-les-Bains.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"><br /></span></span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Le projet profite d'un emplacement exceptionnel. Il est en direct liaison avec le collège, mais aussi avec le Château, le Canal et l'esplanade du parking, qui même dans certains moments, pourrait être "emprunté" comme une sorte d'extension pour des diverses activités scolaires. Nous proposons un accès perpendiculaire à la rue et tout en face avec l'accès principal du Collège Pestalozzi. La trace du bâtiment dans la parcelle donnée couvre presque toute la surface, une occupation maximale en relation directe avec les différentes pièces du programme convoqué, mais nous avons essayé de compacter le volume de l'édifice le plus possible. Cette solution massive nous permet d'avoir un control des pertes thermiques, mais surtout, ça lui donne la même entité volumétrique qu'ont les édifices les plus proches du centre historique. Plus loin, les forces du lieu vont exercer une pression sur une boîte virtuelle, sur un prisme orthogonal dicté par les dimensions maximales autorisées. Au moyen de ces "déformations" (1-4), nous avons réussi à résoudre trois questions:</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">1.- Nous approcher le plus possible au volume et la surface construite de l'édifice existant sur place (voir profile / démoli pour la nouvelle proposition).</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">2.- Le bâtiment, par sa forme plus droite d'un côté et plus pointue de l'autre, oriente la perception visuelle des piétons et usagers vers le Château. </span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">3.- Libérer au rez-de-chaussée une bande d'accès dans tout le front de la parcelle, couverte par le porte-à-faux qui forme le premier étage</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Pour l'organisation des pièces du cahier de charges, nous avons pris une décision très claire par rapport aux indications données dans la coupe indicative. La pièce la plus large se trouve au rez-de-chaussée. Ça nous permet contrôler les déplacements des personnes les plus nombreux, tout aussi comme la fragmentation des voies d'évacuation dans un bâtiment avec des grandes exigences de protection incendie. Les vestiaires de la grande salle son placés dans un niveau intermédiaire avec le local maîtres et le Hall. Au deuxième étage, il y a les deux salles de rythmique accompagnées par les pièces nécessaires. Même si les deux ont les mêmes dimensions, chacune trouve son propre caractère selon la disposition des fenêtres: la première s'ouvre sur le Collège, l'autre sur les bâtiments résidentiels des alentours. En générale, chaque espace du volume proposé trouve une liaison très spécifique et différencié selon l'orientation, établissant par la suite une promenade architecturale variée et fortement engagée avec la ville.</span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;"> </span></div>
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-40276379275954306752014-06-17T12:51:00.000+02:002014-06-18T12:42:14.137+02:00NEW ASSISTED LIVING RESIDENCE IN CHABLAIS. SWITZERLAND.<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for the new assisted living residence at Chablais/Aigle.</span></span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Aujourd'hui, l'accès à l'EMS Résidence l'Aigle vient se faire du côté nord, depuis une cour qui forme un premier filtre d'intimité par rapport au bruit de fond de la rue et aux regards des citoyens. La cour comme mécanisme d'approche et dialogue entre la ville et le bâtiment nous semble un système qui pourrait être utilisé comme espace de transition entre toutes les nouvelles pièces proposées dans le cahier du programme. En plus, elles pourraient aussi jouer un rôle crucial pour résoudre la forte dénivellation de trois mètres entre le Chemin du Sillon et le Chemin du Levant. Un premier bâtiment placé au Sud de la parcelle (côté du Chemin du Levant) accueille les </span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">quarante nouvelles chambres</span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;"> demandées dans deux étages. Dans chacun, il y en a 20, c'est-à-dire, une Unité de soins complète. La cour intérieure permet la ventilation et l'illumination naturelle des circulations et des espaces communs. Le bois couvre la surface de cette boîte au moyen de modules standards. Donnée la petite taille des bâtiments aux alentours, nous avons introduit plusieurs plis dans la toiture pour établir un dialogue d'échelle plus amicale. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Un accès indépendant au CAT est prévu au coin sud-est. Les deux bâtiments sont liés au moyen d'un passage de communication qui abrite la nouvelle réception au rez-de-chaussée. La cuisine devient une pièce cruciale: d'abord par sa taille et surtout parce qu'elle doit servir plusieurs bâtiments. Alors, elle va se placer entre la nouvelle extension, la résidence originale et la future Fondation La Monneresse. Une nouvelle cour gère cette relation de proximité, au même temps qu'une connexion couverte et fermée est établie. </span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Par sa position au cœur de l'ensemble et parce qu'elle profite d'un ensolleiment optimisé au Sud, cette deuxième cour sera aménagée comme Jardin Thérapeutique.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Finalement, la Fondation sera construite au côté du Chemin du Sillon. Un bâtiment tout en béton clair avec sa propre identité, qui se détache de la Résidence. Les espaces de circulation ont des dimensions assez généreuses parce qu'ils sont conçues comme des endroits de rencontre et apprentissage plus loin de la salle traditionnelle suivant les directives pédagogiques de la Fondation. </span></div>
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<a href="http://3.bp.blogspot.com/-eX5mND7WdVM/U6AZzciQmDI/AAAAAAAACKw/K_Yk2NYc8ss/s1600/SOMOS+Chablais+01.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" src="http://3.bp.blogspot.com/-eX5mND7WdVM/U6AZzciQmDI/AAAAAAAACKw/K_Yk2NYc8ss/s1600/SOMOS+Chablais+01.jpg" height="350" width="600" /></a>
<a href="http://2.bp.blogspot.com/-IEeQtmKoxX0/U6FsoIZuA6I/AAAAAAAACM0/qiHgAv1CLAY/s1600/SOMOS+Chablais+02.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" src="http://2.bp.blogspot.com/-IEeQtmKoxX0/U6FsoIZuA6I/AAAAAAAACM0/qiHgAv1CLAY/s1600/SOMOS+Chablais+02.jpg" height="300" width="600" /></a><a href="http://3.bp.blogspot.com/-h6vpHPtXny4/U6Fs2z8BbfI/AAAAAAAACM8/8wWiUUI3b2Q/s1600/SOMOS+Chablais+03.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" src="http://3.bp.blogspot.com/-h6vpHPtXny4/U6Fs2z8BbfI/AAAAAAAACM8/8wWiUUI3b2Q/s1600/SOMOS+Chablais+03.jpg" height="300" width="600" /></a>
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</div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-72817557214526140522014-05-07T15:24:00.000+02:002014-05-07T15:24:33.679+02:00NEW SCHOOL COMPLEX IN VAULRUZ. SWITZERLAND.<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for the new School at Vaulruz.</span></span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Le site de Belle-Fontaine offre un cadre paysagère bien agréable, ave une très bonne orientation et très à l'aise des croissantes déplacements depuis la nouvelle zone d'ampliation urbaine de la commune. La conception du projet reste sur les axes principaux:</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">1. TOPOGRAPHIE+PAYSAGE. Le terrain tombe en pente vers le sud, où se trouve les cours d'eau de La Sionge. Les autres orientations sont aussi assez dégagées visuellement, ce qui donne aux espaces et aux utilisateurs la possibilité de s'ouvrir largement en participant du paysage environnant. C'est pour ça que les pièces du programme vont s'implanter avec des différentes orientations, profitant des qualités du site Belle-Fontaine. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">2. ACCÈS IDENTIFIABLES. Compte tenu de la géométrie de la parcelle, il faut clarifier les différentes possibilités:</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">A. ACCÈS VOITURES: 15 places de parking vont se placer du côté Est, à l'extrême droit de la parcelle. </span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">B. ACCÈS PIETONS+ÉLÈVES: elle fait face à l'entrée principale de l'école. Après, sous un seul grand toit,le préau couvert et l'entrée sont réunis. </span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">C. ACCÈS BUS. La place de dépose se trouve un peu plus loin de l'entrée des élèves et bien séparée de celui des voitures pour éviter encombrer les circulations.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">3. DISTRIBUTION DU PROGRAMME. Au rez-de-chaussée, nous retrouvons la partie la plus publique. Le bloc administratif encadre le préau couvert, facilitant ainsi le control de la circulation des élèves. Un grand hall à double hauteur gère la circulation vers l'escalier qui amène les élèves au premier étage. Aux extrémités, des doubles hauteurs connectent virtuellement les deux étages, établissant une relation visuelle et "sonore", mais aussi, s’ouvrant largement au paysage de la ville.
Au premier étage, les quatre classes primaires trouvent sa propre identité par rapport à des orientations différentes.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">4. CONSTRUCTION EN BOIS.
Le programme établit un système en bois. Nous avons constitué un ensemble basé sur la modulation et l’emploi des éléments standards. Deux boîtes-type sont conçues: 14,65x7,475 m et 12,6x7,475 m. Les deux partagent le même module de 2,05m. La structure verticale se fait à partir de deux systèmes :</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">-À l'intérieure du bâtiment et dans les murs pignons des boîtes, il y a des murs portants en bois lamellé-croisé, coupés à mesure sur usine et amenés ensuite sur le chantier pour monter à sec.</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">-La façade du bâtiment, y compris les murs des boîtes qui s’ouvrent à l'extérieur est faite à partir des minces poteaux doubles placés chaque 2,05 mètres, qui forment ainsi une sorte de treillage structurel de petit échelle et impact visuelle. Après, certaines parties sont pleines ou vides (ossature en bois et bardage ou fenêtres en bois) selon les besoins de lumière et connexion visuel avec le paysage.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Pour la structure horizontale, nous allons utiliser dalles à caisson bois type Lignatur résistant feu REI90 avec perforations acoustiques. </span></div>
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<a href="http://1.bp.blogspot.com/-_sTp6oAG-_k/U2os0rkLn_I/AAAAAAAACKQ/GV_nVIm8iyQ/s1600/Valrauz+Somos+01.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" height="350" src="http://1.bp.blogspot.com/-_sTp6oAG-_k/U2os0rkLn_I/AAAAAAAACKQ/GV_nVIm8iyQ/s1600/Valrauz+Somos+01.jpg" width="600" /></a>
<a href="http://3.bp.blogspot.com/-Z-zDjPh8jsg/U2otRZD-gTI/AAAAAAAACKY/yby9D3kC5NE/s1600/Vaulruz+Somos+02.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" height="300" src="http://3.bp.blogspot.com/-Z-zDjPh8jsg/U2otRZD-gTI/AAAAAAAACKY/yby9D3kC5NE/s1600/Vaulruz+Somos+02.jpg" width="600" /></a><a href="http://3.bp.blogspot.com/-b8XLFRvSS8o/U2otdpzjK6I/AAAAAAAACKg/SgoEfxc82XA/s1600/Vaulruz+Somos+03.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" src="http://3.bp.blogspot.com/-b8XLFRvSS8o/U2otdpzjK6I/AAAAAAAACKg/SgoEfxc82XA/s1600/Vaulruz+Somos+03.jpg" height="300" width="600" /></a>
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</div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-79799066308077541462013-12-12T15:12:00.000+01:002015-03-24T15:20:50.204+01:00HERMOSILLA 67 APARTMENT RENEWAL.<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos </b></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">has finished a complete apartment renewal of a building in Madrid.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The restoration includes ten apartments with different sizes starting from one bedroom to four bedrooms.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Good quality materials have been used in all the rooms. The old inner distribution has been replaced by spacious interiors filled of natural light.</span><br />
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comMadrid, Madrid, España40.4167754 -3.703790199999957640.0300424 -4.3492371999999575 40.8035084 -3.0583431999999577tag:blogger.com,1999:blog-5370366915503922073.post-60738781997201563172013-12-04T15:07:00.003+01:002013-12-04T15:07:27.307+01:00PROPOSAL FOR THE NEW "PARQUE SAN FRANCISCO" THEATER AND MACEW MUSEUM<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for the new "Parque San Francisco" Theater and MACEW Museum.</span></span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The project provides a structured spatial framework able to solve two key issues: on one hand, connectivity, dialogue and versatility of the new theatre in relation to the adjoining streets and the MACEW museum. Furthermore, the insertion of the volume within the urban built surroundings at a close and a distant scale.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">A - . THEATRE</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The Theatre renews the cultural offer within the city center, becoming a confluence point for people and activities. The Multipurpose Room is flush with the ground floor. The stage opens onto the Street San Juan and Plaza del Doctor Victor Perez both serving as a relief to the main access. The ticket booths are in the opposite façade, which can be also be opened onto the street. The lobby-access has been designed as a pedestrian extension directly linking the streets of San Juan and Agustin de Betancourt: a covered and protected passage but flooded with light, leaving the wall of the adjoining Church almost untouched.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">B - . MACEW</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The tour around the different exhibition spaces is designed as a descending trip. The restaurant has been placed on the sixth floor with a terrace that fully exploits the complete urban skyline. Visitors to the museum take the elevator on the ground floor, ascending to level +13.30m and then descending on foot through the different rooms using the open stairs until they arrive to the street level. To ensure VIEWS and LIGHT within the showrooms, a SYSTEM OF DOUBLE HEIGHT SPACES ENCHAINED IN TWO DIRECTIONS allows people to grasp the complexity of MACEW museum looking through several levels from a single vantage point.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">01. FLEXIBILITY</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The Multipurpose Room is placed on the ground floor level, directly in contact with the street, its programmatic possibilities adhering to the adjoining urban routes. You can access it from the lobby of the theater or from the lobby MACEW, multiplying thus its versatility. It has natural light and can be divided as needed. It features a retracting seating system which can be stored in the basement space, leaving a completely horizontal surface.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">02. FRAGMENTATION</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Given the volumetric conditions of the urban study and the required gradual reduction of levels, we establish a modular system to control the "stacking" of programs wrapping up the Multipurpose Room. This modular system also allows increasing or decreasing the amount of space dedicated to exhibitions, while it also allows the rationalization and control of the building components, subsequently the budget.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">03. LIGHT + VISUAL LINKS</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The site has two opposite sides: a clear "back" that attaches to the party walls of the existing urban fabric, in contrast with a “front” visually linked to the urban skyline and open to passers-by. Through the system of concatenated double heights and voids, the Exhibition Areas open and swell to the South–East orientation, admitting light and views that allow visitors not to lose the reference with the city at any time</span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">.</span></div>
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</div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-20441291123601473392013-11-20T14:12:00.000+01:002015-03-24T14:14:20.853+01:00HERMOSILLA 67 BUILDING RESTORATION. <div style="float: left; width: 33%;">
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<span style="background-color: white; color: #6aa84f; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><b>SOMOS.arquitectos</b></span><span style="background-color: white; color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><span style="color: #666666;"> has finished a building restoration in Madrid.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><span style="background-color: white; color: #898989;">The client and owner of the building, </span><b><span style="background-color: white; color: red;"><a href="http://www.lcgoodlife.es/" target="_blank">LC Goodlife</a>,</span></b><span style="background-color: white; color: #898989;"> wanted to restore the façade to its initial state, preventing it from more deterioration.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><span style="background-color: white; color: #898989;">The façade is considered as an element to be preserved </span></span><span style="background-color: white; color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">by the City Council in a Level 3, which means that its environmental value has to be restored due to its situation in the Historical Complex of Villa de Madrid.</span><br />
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<span style="color: #898989; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">The construction typology of the building is from the first quarter of XX </span></span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">century (1925) which is inserted into Barrio de </span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Salamanca urban tissue, specifically in the neighborhood of Goya. The building design includes all the </span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">morphological and typological</span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> </span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">characteristics typical of the </span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">traditional urban tissue of that area of Madrid:</span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> a marked grid structure made of parallel and perpendicular streets that defines this part of the city</span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">,</span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> which is homogenized with the rest of the façades as a backdrop to the </span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">street, with truly noble qualities in general.</span><br />
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<span style="color: #898989; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">The </span></span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">composition of the</span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"> main facade subject of restoration is defined by a</span></span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> regular arrangement of windows. It is finished in plaster with lime, the </span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">usual finish on the area in which the property is located and typical of the time when </span><span style="color: #898989; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">the building was built. </span><br />
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comMadrid, Madrid, España40.4167754 -3.703790199999957640.0300424 -4.3492371999999575 40.8035084 -3.0583431999999577tag:blogger.com,1999:blog-5370366915503922073.post-28509847628034867632013-11-11T13:00:00.000+01:002013-11-11T13:00:08.468+01:00COLLABORATION WITH ESTUDIO CARME.PINÓS. ON-SITE ASSISTANCE FOR 75 SOCIAL HOUSING UNITS EMVS IN MADRID. VALLECAS 70<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> collaborates with </span><b><span style="color: #38761d;"><a href="http://www.cpinos.com/" target="_blank">Estudio CARME.PINOS</a></span></b><span style="color: #666666;"> to develop work on site for 75 VPO in Vallecas (Madrid). Tasks included complete assistance with execution control, detailing design and on-site supervision, ensuring that works are carried out to specific standards set up by <a href="http://www.cpinos.com/" target="_blank">Estudio Carme Pinós</a>.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;">Despite the fact that Social Housing works within very restrictive limits, the project by Carme Pinos starts off willing to achieve its greatest identity gesture through volumetric play. This argument leads them to think that the formal quality of the building should not be overly subordinated to the details of the facade, but that it should further rely on the play of volumes under shadow and light to achieve its sculptural expression.</span></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;"><br /></span></span></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;">Given the responsibility of architects within urban design, thinking not only of the people who inhabit this building but also in regard to those passing by on the street, they have created large porticoes that run throughout the whole depth of the volume, revealing the green area inside the block to the outside, while reducing the number of ground floor apartments which are always problematic in relation to privacy issues. The few that remain in this level are compensated with a garden in the back and a green area left in the setback of the main front façade ensuring the necessary privacy. Open entrance hallways help erase the limits between private/public, offering an intermediate space for the city.</span></span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;">All volumetric setbacks not only offer the desired formal game but allow them to resolve the minimum number of apartments given in the program with only three communication cores.
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-63894704480480361072013-11-04T15:17:00.001+01:002013-11-04T15:17:30.765+01:0015 HOUSING UNITS IN RUE DES CORDIERS. GENEVA<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for a block of 15 apartments in Geneva.</span></span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Intégration urbaine: Au rez-de-chaussée, l'immeuble est desservi par deux entrées qui donnent accès à un passage piétonnier traversant le bâtiment qui offre ainsi une certaine perméabilité et fluidité. Les deux points d'accès fonctionnent comme des vestibules passants ouverts aux façades sur la Rue Cordiers et la Rue Vollandes. Le local commercial occupe le coin du volume et le local des poussettes et vélos (2 vélos chaque 100 m2 de logement) est juste à côté de l'entrée la plus grande. Les circulations sont distribuées à travers d'une cage d’escalier avec ascenseur, permettant ainsi développer le programme du rez-de-chaussée plus 7 étages. Même s'il est ventilé, ce volume de communication s'adosse au mur mitoyen pour donner la plus grande quantité de façade libre aux logements. Dans l'étage 7 nous mettons la buanderie, tout aussi comme un toit jardin dédié l'usage et la jouissance des voisins, avec une salle de bain et un local de mobilier au service de la terrasse. Au sous-sol, les caves et un local technique occupent l'espace originale afin d'éviter des couteuses excavations. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Construction: la façade compte avec un système constructif rationnel monté au sec, a base de panneaux sandwich en béton préfabriqué de medium format, avec une forte résistance au passage de la chaleur et avec une attention particulière aux ponts thermiques. Ce système constructif est particulièrement adapté pour les bâtiments de basse consommation. L'isolation générale du bâtiment est l'objet d’une étude de détails particulièrement soigné. Ainsi, l’enveloppe est formée par l’addition d’une couche porteuse constructive (12 cm.), une couche d'isolation thermique (8 cm.) et une couche de parement de panneaux en plâtre. Les panneaux offrent un contraste avec les éléments horizontaux traités en béton clair, qui établissent une relation formelle avec les bâtiments à côté. Des volets en aluminium font le jeu avec les panneaux, permettent contrôler l'obscurcissement des espaces et mettent le volume en vibration.</span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">. </span></div>
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<br /></div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comRue des Cordiers 8, 1207 Ginebra, Suiza46.202804099999987 6.162686699999994746.202804099999987 6.1626866999999947 46.202804099999987 6.1626866999999947tag:blogger.com,1999:blog-5370366915503922073.post-24357504893480870332013-11-04T14:35:00.000+01:002013-11-04T14:35:45.400+01:0050 HBM HOUSING UNITS IN GENEVA<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for a block of 50 apartments in Geneva.</span></span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Au rez-de-chaussée le bâtiment compte avec une symétrie d'accès, donnant fluidité aux circulations. Les deux point d'accès fonctionnent comme des vestibules passants ouverts aux façades sud-est y nord-ouest. Dans la façade nord-est deux unités d'habitations sont placés, donné le fait que ce position est la plus privée. Le local de vélos est placé au cœur du bâtiment dans une position intermédiaire avec un accès direct depuis l'extérieur et relié avec chacun des halls d'entrée. Dans l'extrême sud-ouest on trouve deux locaux d'autres activités, donnant de la puissance à la relation du programme de logement avec la ville, et plus particulièrement avec le Chemin Dr. Jean-Louis Prévost. L'orientation nord-ouest est plantée comme une extension de la zone boisée qui fait face à l'Avenue du Bouchet et qui à même temps, sert de barrière naturelle. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Description des logements:</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">L’immeuble, desservi par deux passages piétonniers traversant le bâtiment qui offrent ainsi une certaine perméabilité, est distribué à travers de deux cages d’escalier. Le programme compte 48 appartements bénéficiant du subventionnement HBM. Il s'agit d'appartements de 2, 3, 4, 5 et 6 pièces, entre petits logements et appartements pour familles nombreuses. Les logements sont organisés à la typologie bi-orientée et en bandes, avec le séjour et le coin à manger donnant sur la façade sud-est pour permettre un ensoleillement maximal. Les chambres sont orientées à la façade nord-ouest, pour profiter des vues vers la zone boisée. Dans l'axe central on y trouve les locaux humides (salles de bain et cuisine), qui dans les extrémités du bâtiment peuvent se bénéficier de la ventilation naturelle. Les logements exploitent les qualités du site, profitant des dégagements visuels et du rapport entre construction et espaces extérieurs, tout en préservant l’intimité des habitants. La typologie très aérée, due au regroupement des noyaux sanitaires et des circulations internes, offre un hall distributif à usage diversifié
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comGinebra, Suiza46.1983922 6.142296100000066946.1104772 5.9809346000000669 46.2863072 6.3036576000000668tag:blogger.com,1999:blog-5370366915503922073.post-60724184188876771572013-11-04T14:03:00.001+01:002013-11-04T14:03:37.549+01:00NEW SCHOOL COMPLEX IN SAINT-BLAISE. SWITZERLAND. <div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for the renovation and creation of a new School Complex in Sain-Blaise.</span></span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">1. TOPOGRAPHIE+PAYSAGE. Ces deux concepts sont la clé de la conception du nouveau complexe scolaire Collèges de Vigner. La topographie unique de la parcellenous amène à prendre une première décisionpour le projet: ÉCHELONNER. Les nouveaux bâtiments vont s’adapter au terrain naturel le plus proche que possible, afin d’optimiser l’excavation, au même temps qu’ils cherchent le vue du Lac, avec l’orientation Sud, idéale pour un programme éducationnel. Ainsi, la nouvelle topographie trouve sa forme dans trois plates-formes principales qu’organisent le complexe et qu’au même temps fonctionnent comme grandes cours de récréation pour chacun des niveaux. Grâce à cette nouveau terrain sculpté des préaux ouverts apparaissent, abrités des courants d'air, o couverts. Également, donné le fait qu’une grande partie du programme est sous-sol grâce à la forte pente naturelle du terrain naturel, l’impact visuel dans la densité de la construction est fortement diminué. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">2. ACCÈS IDENTIFIABLE. Compte tenu de la géométrie de la parcelle et les servitudes qu’il faut remplir, des autres clés sont les différents accès à chacun des niveaux d’enseignement tout aussi comme au programme partagé pour les manifestations culturelles du village. Si l’actuel collège de Vigner doit être retenue, les accès du public aux fonctions principales (nouveau salle de gymnastique, salle de gymnastique actuelle, auditoire existant...) sont effectués depuis les niveaux inférieurs à travers du passage à côté de la Maison de Commune. Dans le cas des étudiants, l’accès aux différents niveaux d’enseignement sont effectués depuis la Rue de Vigner. Tous les accès ont été étudiés pour faciliter l'orientation des personnes et voitures selon les besoins spécifiques (Voitures / Parking / Pietons / Élèves / Locaux partagés)</span><span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">3. TOITS-COURS DE RÉCREATION: les toits des bâtiments sont utilisés comme cours de récréation dans chacun des niveaux. Les édifications superposées vont générer des espaces couverts en raison de la configuration du volume bâti, tout aussi comme des espaces abrités des courants d'air. De cette façon, les bâtiments et les préaus sont superposés,maximalisant la surface de jeu disponible.
Chacun des préaus sont placés à côté de son école avec accès direct. Le préau à cote +442.05m reçoit un traitement singulier, compte tenu qu’il est utilisé comme surface d’appui au programme partagée avec la commune (accès direct à l’auditorium et aux deux salles de gymnastique). Il accueille des gradins multifonctionnels pour des événements culturels, au-dessus duquels nous trouvons le local de production de chaleur qui desservira tout le complexe ainsi qu’à la Maison communale.
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</div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comSaint-Blaise, Suiza47.016373 6.987094699999943346.9730805 6.906413699999943 47.0596655 7.0677756999999435tag:blogger.com,1999:blog-5370366915503922073.post-87614402160153442682013-11-04T13:27:00.001+01:002013-11-04T13:27:33.295+01:00NEW MARKET IN SAN CRISTOBAL DE LA LAGUNA. INTERNATIONAL COMPETITION<div style="float: left; width: 33%;">
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<span style="color: #666666; font-family: Arial, Helvetica, sans-serif; text-align: justify;">The proposal is the result of a reflection based on three key concepts, essentially recovered after the typical architectural features that define the urban fabric of the city of San Cristobal de la Laguna.</span><br />
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<span style="color: #666666; font-family: Arial, Helvetica, sans-serif; text-align: justify;">First of all, the Plaza and its role in the city as a condenser of experiences. We are concerned about the new models of cityscape associated with CONSUMPTION. Based on program requirements, it is necessary to develop a new kind of consumer space adapted to the “neighborhood market” model, but looking forward to create a PLAZA space linked to the immediate context. In order to achieve this idea, we implement a “CONTINUOUS STRIP” housing all consumption activity. 400 linear meters spread over two floors are required to meet the needs of the project. Folding its shape in relation to the given plot, the "continuous strip" will end up giving shape to public space, multiplying possible routes, inside- outside visual connections, public-private partnerships, building new areas of opportunity… a PLAZA to transmit a livelier and more generous feeling.</span><br />
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<span style="color: #666666; font-family: Arial, Helvetica, sans-serif; text-align: justify;">On the other hand, the PATIO as a cornerstone of Canarian architecture, derived from its unique weather conditions. Taking as its starting point the bottom level of the market, a whole arrange of patios which are carving into the built volume come upwards, allowing the entry of natural light and creating an interior garden landscape filled with native vegetation (cactus, laurel, cardonal, tabaial, palm trees...). These courtyards will serve to organize the program for the top two levels of administrative, recreational and cultural tertiary functions. Depending on the needs, the courts will be an outdoor/indoor space, they will reach the basement level or vary its relationship with the outside. AN ATLAS DESCRIBED BY THE SKY.</span><br />
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<span style="color: #666666; font-family: Arial, Helvetica, sans-serif; text-align: justify;">Derived from the typically Canarian balconies and wooden shutters, we design a contemporary LATTICE SKIN surrounding the built solid which acts a light controlling device, protecting the interior from over- exposure and thus enhancing the relationship with courtyards. The LATTICE SKIN envelopes the whole building including those courts opening to the façade. In this way, we find a good solution to solve outside alignment while displaying a changing and attractive image to the outside.
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</div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comSan Cristóbal de La Laguna, Santa Cruz de Tenerife, España28.4874009 -16.31590610000000728.4315669 -16.396587100000005 28.5432349 -16.235225100000008tag:blogger.com,1999:blog-5370366915503922073.post-39261476835881879552012-05-30T11:43:00.001+02:002012-05-31T15:14:29.237+02:00PAV MARBRERIE CAROUGE. GENEVE. INTERNATIONAL COMPETITION.<div style="float: left; width: 33%;">
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<span style="color: #666666; font-family: Arial, Helvetica, sans-serif; text-align: justify;">La grande surface bâtie mis à disposition du concours mais surtout, la
flexibilité du programme et de la distribution du volume nous apporte une ample
liberté qui néanmoins, doit être capable d’établir un lien structural avec le
concept urbanistique déjà dessiné par le bureau Diener&Diener. Comme
convenu dans le règlement, il faut explorer différentes solutions de
densification de la parcelle, qui en plus des directrices du plan masse, puisse
donner à chacun des fonctions projetées (habitation et services) la réponse la
plus appropriée tout en créant un ensemble cohérent et unifié.Donné le fait que la plus grande partie de ce volume bâti appartient au
domaine du logement, c’est à partir de l’étude attentive de cette programme que
le projet doit être matérialisé. Si nous faisons une analyse des volumes,
surfaces et proportions de chaque étage proposés par Diener&Diener, nous
pourrions comprendre qu’il s’agit des surfaces de logements très grands qui devront
être résolus par un noyau de communications (voir ascenseur+escalier) à
l’intérieur, à son tour entouré par un anneau des logements. Cette situation
nous force à utiliser des types qui seront parfois mal orientés et qui n’auront
la ventilation nécessaire.</span></div>
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</div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comLa Praille, Chemin de la Marbrerie 8, 1227 Carouge, Suiza46.17945 6.1354546.178075500000006 6.1329825 46.1808245 6.1379174999999995tag:blogger.com,1999:blog-5370366915503922073.post-79736237485162930222011-10-04T13:22:00.000+02:002013-12-04T13:33:48.301+01:00PROPOSAL FOR THE NEW HEADQUARTERS OF THE MIÑO-SIL RIVER BASIN AUTHORITY.<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for the new headquarters of the Miño-Sil River Basin Authority.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"><br /></span></span>
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The conditions and requirements given in the competition for the new headquarters of the Miño-Sil Hydrographic Confederation gives us the chance to create a new landmark for the city. Located in one of the entrance areas to Ourense, this volume stands out from the urban environment with an eleven-storey tower which rises 55 meters above ground.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Based on the competition program, the height between the different slabs can increase or decrease. In parallel, the ground surface varies to accommodate each part. Thus, circular slabs with different diameters and positions slide in relation to the vertical axis, forming a tower made up of displaced rings generating an extruded volume that takes a unique dynamism: a sequence of freely rotating hula- hoops. The building structure is configured as a circular inner ring in concrete, housing vertical communications and installations.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">While the outer ring hosts the office program, within the structural ring we have a greater spatial freedom. Elevators and stairs are located within this structural ring, giving access to the areas outside or inside of it, depending on our needs. The void inside the core of the tower is transformed into a vertical sequence of hall areas and meeting rooms, all double or triple height volumes acting as welcome areas to each of the program packages.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">In this way, we are proposing two different programmatic scales: a first array of functions packed around the outer perimeter and a second volume of meeting spaces contained within the inner core, both linked through the internal circulation system of the structural ring which allows both horizontal and vertical connections.</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">In regard to the outer “skin”, we are using two different envelopes: an inner one made up of structural glass curtain wall stitching the edges of each slab and an outside one made of aluminum lattice which acts as a solar and visual protector, providing an abstract and changing image to the city, marked only by the edges of each slab that give a scale reference for the whole volume.
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</div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comtag:blogger.com,1999:blog-5370366915503922073.post-10495462172052724492011-04-04T15:00:00.000+02:002012-06-20T11:04:51.963+02:001ST PRIZE. AUDITORIUM AND CULTURAL CENTER IN ORIO (GIPUZKOA).<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> wins the first prize in the construction of the Auditorium and Cultural Center in Orio (Gipuzcoa).</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;">The project site is located in a
new expansion area</span><span lang="EN-US" style="color: #5b5b5b;"> in Orio, just north of the Cantabrian
motorway that connects </span><span lang="EN-US" style="color: #5b5b5b;">San Sebastian
to Bilbao. It is in this town where the highway is closest to the sea and it is
here where Orio emerges as a clear reference to the Basque coast. The plot
chosen cannot be more representative. To the east lies the new residential area
with a four-floor profile, to the west the river Oria ends in the Bay of
Biscay, accommodating a marina. This dune area must be understood as a means to
connect both landscapes. The new Cultural Center must channel these two
different flows and function as a place of encounter for these two fronts
separated by different levels: sea and land. The new Cultural Center is a pole
that brings meaning and value to this new urban extension in front of the House
of Culture on the other side of the highway. Taking advantage of the freedom
regarding the position of the building according to the open Regulations, we
wanted to develop and fix our proposal based on three key decisions:</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;"><br /></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;">1. Built volume integration: </span></span><span style="color: #5b5b5b;"><span style="font-family: Arial, Helvetica, sans-serif;">Orio landscape is characterized
by its secular relationship with the sea, by the lush green hills around it and
by the dune park which surrounds the new civic facilities. This complex wants
to respect, promote and save this image, looking forward to be perceived as
part of the landscape both from the immediate and distant surroundings and from
the highway. For this purpose, two basic decisions are taken: first, we will
split all the pieces of the program in order to make them fit into the geometry
of the original plot, without imposing a new geometry. On the other, we will
depress the whole building one level, which ultimately drives us and reinforces
the next decision.</span></span><br />
<span style="color: #5b5b5b;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;">2. Connection between urban plaza and marina: </span><span lang="EN-US" style="color: #5b5b5b;">For us, it is crucial that the natural level of the
building matches that of the seafront, but without completely detaching
ourselves from the urban level, four meters above. Thus, we have two separate
entrances that allow connections between both levels (urban and sea) through
the building. Thus, it becomes an area of </span><span lang="EN-US" style="color: #5b5b5b;"></span><span lang="EN-US" style="color: #5b5b5b;">transition,
collecting pedestrian flows from both "banks." From the long stairs
we descend to the lower platform while the masts in the Marina</span><span lang="EN-US" style="color: #5b5b5b;"> form a vertical counterpoint that we will recover
again when we arrive to the last step, thus establishing an inalienable link
with the past, present and future of Orio.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;">3. Open independant structure: </span></span><span style="color: #5b5b5b;"><span style="font-family: Arial, Helvetica, sans-serif;">To ensure proper illumination of these areas, the
square-roof deforms to become a sort of artificial dunes that actually work
like large skylights. In some cases they are closed at the top and only allow
the lighting of the exhibition spaces. In others, forming a courtyard open to
the sky, they provide natural ventilation to the workshops and the rest of the
building. Since it's buried underground, it takes advantage of the large
thermal inertia of the soil, allowing us to save energy costs. The building
emerges as a manipulation of the land, as a topographic accident whose roof can
be used as a public square, providing space that the Center would consume if it
would rise over the first floor. The roof of the great auditorium serves as a
wonderful outdoor theater where films can be watched during the summer season.
In the exhibition area, fixed partitions and domestic-scale structure have been
avoided: large structural bearings and sliding light panels provide the
necessary versatility to modify the size of the rooms in order to fulfill the
ever-changing future needs of the Center.</span></span><br />
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</div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.com20810 Orio, España43.284890940709275 -2.126026153564453143.282000940709274 -2.1309616535644533 43.287780940709276 -2.1210906535644529tag:blogger.com,1999:blog-5370366915503922073.post-90481969711749561092011-02-25T14:17:00.000+01:002013-11-04T17:19:08.843+01:00PROPOSAL FOR THE NEW LEGANÉS SCULPTURE MUSEUM.<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for Leganés Sculpture Museum renovation.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"><br /></span></span>
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Two different scales of intervention are analyzed. On one hand, the global scale of the outdoors sculpture park covering all the public space used for that purpose. On the other, the Dehesillas building, designed to house the future museum. We propose an intervention strategy that links both programs, improving their access and connecting their itineraries in order to offer a clear and straightforward solution.</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">1. OUTDOORS SCULPTURE PARK.</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Current Status: At urban level, the enclosure of the Sculpture Museum with its fenced perimeter stands as a barrier at certain times of day, allowing access only on visiting hours. When the museum is closed, it represents an insurmountable limit except for two specific points. Similarly, access to the museum has a very secondary role in relation to the city. The parking area remains as a leftover space of the plot.</span><br />
<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">Proposal: we propose to reverse the concept, let’s give the city the chance to organize the whole complex, establishing a fragmentation of different enclosures which combine sculptural groups by topic or authorship. It thus increases the contact area of the museum with the city, allowing a greater number of connections and urban routes. Access to the museum is modified, giving continuity to the outdoors exhibition space that goes across the building forming a large open main lobby. The parking is slightly buried, finding its space under a green roof. Given the new layout of the museum, thirteen new states of enclosure appear. We would like to integrate them along with the sculpture museum, transforming their design in another outdoor sculpture, while still defining the new spaces. In this way, content and container are valued together transforming urban routes into an integrated experience in the museum. 13 artists will have the opportunity to design the new “skins”.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">2. DEHESILLAS BUILDING.
The old sculpture museum is being redesigned and extended, seeking to open the hermetic character of the existing building by a clear movement in four stages:</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">PARTIAL DEMOLITION: the buildings which are obsolete or do not conform to current regulations are demolished. This decision seeks to achieve continuity of the outdoor park through the new museum.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">THE GREAT HALL: building a new piece that will house temporary exhibitions. Thus, the central band becomes a large uncovered entrance hall in continuity with the park, sheltering outdoor sculptures. It is framed by both parallel two-storey wings and will be accessed through several points linking this space with the different parts of the program (lobby, shop, auditorium, sculpture store, access to the upper level of offices and classrooms...).</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">PARTIAL COVERING THE OLD YARD: designing a new permanent exhibition piece with the size of the old Dehesillas building courtyard, placed over the old building and bridging the width of the central strip. In order to allow light and crossed views, the volume must undergoes a cutting operation.</span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">FINAL VOLUME: the permanent exhibition piece is stretched to cover the entire length of the entrance hall, generating varying gaps that allow ventilation, light and diagonal views within the new spaces. This volume is configured as a linear path that zigzags flying over the entire outdoor lobby.
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.com28914 Leganés, España40.322467021242311 -3.756723403930664140.310361021242308 -3.7764644039306638 40.334573021242313 -3.7369824039306643tag:blogger.com,1999:blog-5370366915503922073.post-54072290801330255682010-07-13T14:33:00.000+02:002013-10-29T12:57:49.854+01:00NEANDERTHAL MUSEUM CENTER IN PILOÑA. ASTURIAS.<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for the new Neanderthal Museum in Piloña. Asturias.</span></span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The new Neanderthal Center powerfully is born willing to contribute to the scientific development of the Principality of Asturias and to redraw the map of human evolution. The competition thus proposes an ambitious project within an extraordinary location, well connected but at the same time, fully embedded in the surroundings. When fitting the building, the setbacks are especially binding, even more given the character of two of the adjoining boundaries, the pathway N.634 and the railway tracks. Built and non-built areas must help overcome these difficult relationships while enhancing the Neanderthal Center. Furthermore, the whole concept should be closely linked to the possible outdoors activities designed to break up the univocal and closed character to be found in most of the museums, proposing alternative activities for the whole family. With very few but very powerful decisions, the Museum is organized according to the given exhibition program. From this point on, the unbuilt areas unfold in an organic way, as a continuum of the museum. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The site counts with a great deal of trees that help to control the visual impact of the Museum in its surroundings, the impact of the road N -634 and the interference with each activity (insulation , shade ... ). The geometry of the perimeter areas directly surrounding the building is related to each one of the volumes containing the exhibition spaces. In this way, at the foot of each one of them, open areas spread in order to allow visitors to appreciate the effect of reflections of its walls. These surfaces organize the whole site establishing large game boards that can be of two types: they might contain activities related to demonstrations of techniques employed by Neanderthals or they might exhibit low altitude plant species typical of the historical period. </span><br />
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<span style="color: #5b5b5b; font-family: Arial, Helvetica, sans-serif;">The rest of the outdoor space is arranged though several distinct areas, where educational activities take place aimed at two different audiences: adults and children. Archery, tracking, monitoring and tracks games, technical demonstrations (differentiated by age) like carving on stone or bone weapons, ornaments, tools, painting, fire, anything allowing visitors to understand the true way of life of the Neanderthal, his difficulties and vicissitudes. Along the competition regulations, different alternatives are offered for the main access to the Center's facilities. It is important to avoid the curve of the road towards Santander, but in our view, the junction with the AS -358 offers a very favorable access point for several reasons. First, it is a crossroad quite consolidated and as such in the collective memory of all drivers. We only need to provide it with a new entrance ramp that allows for a safe crossing in both directions. Second, is the road that leads to the original cave of Sidrón, so although this cannot be visited, it seems logical that both share the same access point. Third, you arrive to the museum from a much friendlier and calmer area, avoiding the busy N -634, through a wooded rural setting that allows us to rediscover the museum cut against the trees.</span></div>
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BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.com 33530 Piloña, España43.35 -5.3543.303826 -5.428964 43.396174 -5.271036tag:blogger.com,1999:blog-5370366915503922073.post-87346940318070242082010-06-23T15:23:00.000+02:002012-06-20T11:06:48.127+02:00HOTEL IN HERRERA DEL DUQUE (BADAJOZ).<div style="float: left; width: 33%;">
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<span style="color: #6aa84f; font-family: Arial, Helvetica, sans-serif; text-align: justify;"><b>SOMOS.arquitectos</b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #666666;"> proposal for a new hotel in Herrera del Duque (Badajoz).</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;">A SQUARE, A GARDEN, FIVE LATTICED BLOCKS.Following a first reading of the proposed site, settled within the limits of the small village of Herrera del Duque, its clear boundary condition stands out. We incorporate this issue into the project, trying to provide a strong response to the new Hotel program.
-In the northwest edge, precisely where the accesses occur, the plot is in contact with the established urban fabric and its public spaces which articulate the population movements. A narrow street network leads to a single point of access to the plot.
- The East boundary, at a higher point, is characterized by its landscape, dominated by olive fields, and chaired by the castle at the top of the hill.
Both levels engage a dialogue along the plot, as we propose to carve and model its line of contact, differentiating a PLAZA space which results as an appendix to the existing road, and a garden space, on a higher level, establishing visual and physical continuity with the landscape and the surrounding agricultural area. In this way, we also take advantage of the existing natural topography, making a controlled excavation in order to settle a higher level which will work as a natural extension of the rear edge.
There are three levels of use, in response to a rising scale of privacy and relationship with the environment: </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;"> 1. A SQUARE: The first level is understood as an extension of the urban space entering the plot. Thus we imagine a new square, embraced by the public program (reception, cafeteria, halls ...). From this plaza level all accesses will occur independently (hotel, celebration halls, personnel access, parking ...). </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;"> 2. A GARDEN: in continuity with the valley of olive trees, we create a second level to be used as a private garden, specifically designed to fulfill the enjoyment of the guests, which also serves as the roof for the public spaces of the lower level. A place for recreation visually merging with the surrounding landscape views overlooking the castle. </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #5b5b5b;"> 3. FIVE LATTICED BLOCKS: a third level receives the housing program oriented to the south, with lights and views taking advantage of the landscape. Three major latticed-bridges contain the rooms, which in turn provide shelter and shade to the plaza level right below. Vertical cores connect these beams with the public areas of the program. To the north, the fourth latticed block houses the main restaurant also covering the access to the plaza. Finally, the fifth latticed block, acts a as call of attention about what happens inside, solving the access to the celebration halls and the choir level, positioned in the side wall of the church.
As a result of the overlap of the three programmatic levels, we provide rich trajectories and visual connections providing permeable spaces and shaping areas for relaxing and living in harmony with the surrounding environment.
The resulting volumetric arrangement takes advantage of the existing topography and orientation which will also favor bioclimatic control based on passive means (shaded areas, natural cross-ventilation, vegetation and water hygrothermal control ...), achieving optimum comfort conditions.
Similarly, we pursue a controlled visual impact in relation to the scale of the surrounding environment. We are confronting a series of low profile housing network set up within an irregular arrangement, and many of them acting as a dividing wall to the Northwest. Because of these reasons, we try to enhance the flatness of the routes and views, creating an interior landscape which is also opened to the southeast, whose conditions are dominated by the view free of buildings, except the castle, which stands as the focal point.</span></span></div>
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<br /></div>BURRIEL+LEWICKI+TALLÓNhttp://www.blogger.com/profile/04903370283925854554noreply@blogger.comHerrera del Duque, España39.1689163 -5.051312739.1627608 -5.0611832 39.1750718 -5.0414422000000005