Revista croquis pdf

Their 13 Footing slab 14 Anchor plate inner space becomes inhabited, exploring a non-orthogonal verticality and 15 Sand-finished concrete pavement unexpected interrelations that shape courtyards and routes that lead one to 16 Levelling tiles 17 Adjustable plot discover unpredictable spaces and radial visuals along a centrifugal and at 18 Non-retraction mortar 19 HD thermal insulation the same time centripetal line.

Detail 20 Rainwater drain. Para ello se prepara un mundo interior: una gran nube. How to generate this spatial experience in an indoor setting without our 'natural props'? An interior world is created for this purpose: a large cloud. When guests enter, the walls, ceilings, chairs and tables trigger the experience of this illusion in a game of transparencies, a tour in which, as they discover and feel the spaces, they taste exquisite mixtures of flavours.

Detail detalle puerta acceso. La ciudad del descubrimiento, del aprender, del crecer, del crear. Y los servicios comunes del teatrito, la cantina, la biblioteca, el deporte van creando caminos y plazas que recogen otros tantos. A city of discovery, learning, growing, creating. For 0 to 18 year olds. A school for all ages, in a shared setting. Each age discovers its own special colour, position and creativity. Each age creates its own shadows and meeting spaces.

The shared services — theaterette, canteen, library and sports facilities— generate paths and squares that hold others. A cheerful, lively hive in a setting where everything is waiting to be discovered. Y sentir el aire en este conjunto permeable. A visual connection with the landscape on the 'other side' is of capital impor- tance for this site, located on the bank of the Garonne River in Bordeaux, opposite the historic Saint Michel district and the Sainte-Croix church.

This complex for a hundred-odd homes with shared services takes the form of a cluster of threads that flow into the river, estuary-like. The homes have varied typologies based on a 30 m2 unit, used independently or clustered in descending or ascending heights.

The side and front terraces and the roofs are also employed in an amalgam of homes served by passages, reminiscent of Atlantic marshland landscapes and mollusc farms. One can feel the air in this permeable complex. Crea un movimiento decidido como una cinta deshilachada.

Dos 'U' de acero se enlazan, se separan, siguen movimientos, trazados y cotas distintas… La simplicidad y la riqueza de un gesto terso y apropiado para el lugar. A footbridge at the entrance to the new campus of the Institute of Science and Technology IST in Austria links two parts, two dimensions, two situ- ations, many flows: pedestrians, bicycles, adapted circuits and so on.

It folds out into two. It creates a determined movement, like a frayed ribbon. Two steel U-sections connect, separate and take dif- ferent paths, movements and dimensions. The sim- plicity and richness of a terse gesture, appropriate for the location. Javier mientras lee, escribe, trabaja. La madera como material y referente exponente del mundo natural con la silueta de Javier como molde y sus actividades a corta distancia, definen un territorio.

Like all creative initiatives in in architecture, this design emerged from a question posed by a user: a dream! Author Javier Cercas Mesa has a dream: an armchair for reading. However, this armchair is not just for resting. While Javier is reading, he is also at work, writing. Architects are creators of space. Like a vase, where the important thing is the space or void generated by its interior, the space generated within the faded walls of a palace is just as important.

This armchair generates a space in which the key aspect is the envelopment of the human body. At the same time, its limits, its perimeter, generate a space between it and the boundaries of the space in which it is situated. This piece of furniture explores the technology-personal- ization binomial. Technology that is made available for the purpose of personalization, not for a series, in order to add a new concept, technology, to the arts and crafts genre, which thus become arts, technology and crafts.

Juhani Pallasmaa Juhani Pallasmaa. A hasty visit to Les Cols Restaurant and Pavilions in Olot a few years ago also left me a bit puzzled. It is an urban intervention, an exclamation and a question mark at the same time, an architectural telescope that simultane- nificados.

Paradoxically, it heightens the opposites of distance and nearness, spatiality and the pictorial, surface and depth. The Ripoll void is a city gate and a triumphal arc that welcomes and bids farewell, thus marking invisible experiential thresholds. La arquitectura siempre obtiene sus cualidades y significados fundamentales de su 1 I visited the RCR office and a number of their works in Olot and its environs, as well as in Barcelona, in Por ello, he optado por comentar sola- dialogue with the setting.

The true experience of a work arises from the embodied choreography of its singular spatial universe. They are all divided into innumerable, simultaneous animated theatres. It used to house trial. La gastada fachada es un collage de ladrillo, enlucido basto y madera. Sobre el nombre borrosamente visi- building over many decades. Is this place being demolished or refurbished?

The setting seems to be suspended between two conditions: in statu nascendi and the Last Judgement. El escenario parece hallarse suspendido entre dos estados: el de in statu nas- cent birch trees grow in the entrance space, blurring the distinction between interior and exterior, and even between the action of entering cendi y el del Juicio Final. Around the corner, this ambiguity is heightened by the huge foundry hall with its heavy trusses and skylights, the sand floor incluso entre el hecho de entrar y salir.

Pese a su naturaleza prosaica, icated work. Madrid, , p. The glass-enclosed exhibition pavilion next to the yard, with its cast iron columns, tro del enorme espacio interior de una catedral abandonada—. Las mesas de dibujo —de acero y proyectadas casi erosion and wear. The three partners share a huge square table on the top floor next to the gigantic vida. En una sala de la planta superior, los tres socios comparten una enorme mesa cuadrada bajo un gran ventanal y junto a la window and the bookshelves.

The soot on the walls makes the white sheets of paper on the drafting tables seem particularly virginal and enticing. They appear on such walls promiscuously, like the sound of bells in whose peel you may find any name or word you choose to imag- completa y bien dibujada. The architectural collage of the descubrir cualquier nombre o vocablo que uno decida imaginar".

This entity enables one to see the evolution of the RCR architectural language on a single site. The main restaurant space is placed within an old rustic farmhouse with a new annex containing another dining space and the kitchen. The kitchen is a laboratory and a meditative space at the same time, appropriate for a de la corte del rey Arturo.

Los cinco Pabellones, construidos en vidrio y acero, procuran espacios privados de descanso. All interiors are transparent. Even the floors are made of glass plates de frutales existente. The bather wades into the sunken bath across a bed of black pebbles set in shallow water. Los espacios tienen un marcado ambiente surrealista, que recuerda serve their sole purpose of providing a moment of memorable rest. It is also an intoxication, moral exhibitionism, that we un momento de descanso memorable.

The Les Cols Pavilions also reminds me of the de cristal de los expresionistas alemanes. The space is intended for parties ranging from a few guests to feasts for several hundred. La cubierta suspendida se divide por suspended roof is subdivided by eight narrow slits with planted rows of trees. El espacio tiene un ambiente amable y acogedor, festivo y relajado al mismo tiempo.

The ambience is mem- una luz filtrada y atenuada que transmite un aire de merienda campestre que recuerda a cuadros impresionistas, como el Bal du orable, but it seems to be open, adaptable and supportive for a wedding, a birthday party or even a funeral.

Moulin de la Galette de Auguste Renoir. Al entrar en la finca, abstracted, ritualized life. A glass elevator takes you silently up one floor back to the idyllic landscape that you have just driven through. Los asientos son piezas hechas de corten, al igual que las camas y las mesas; Everything has been distilled to its very minimum appearance.

The ensemble is sunk 1. Hundida 1,5 metros en el borde de la ladera, courtyards with retaining walls made of steel plates which hold layers of natural stone in place. The enclosed courtyards directly extend al norte, las habitaciones se abren completamente al paisaje, mientras que al sur desembocan en patios semihundidos, confinados the interior spaces, while the landscape becomes a distant backdrop. Estos patios extien- Steel plate units function as doors along the corridor to reveal storage spaces for extremely elegant household objects and utensils.

Even the initially forbidding steel surfaces begin to project a velvet-like softness and warmth, a surprisingly erotic skin of steel. The espacial, la imprevisibilidad y aleatoriedad de un bosque.

When visiting the Olot Stadium, de un bosque, suscita un aire de secretismo, aislamiento, soledad y tranquilidad. Pienso en los collages de Max Ernst, more ordinary yet irreconcilable images, which give rise to an unexpected and unbelievable narrative.

Brodsky argues that montage was invented in poetry long before Sergei Eisenstein introduced it to cinema. The structures are entirely in Corten steel. No creo haber visto antes un edificio tan enteramente construido that I have ever seen a building built so entirely from a single material. In wood or stone structures, for instance, pieces of metal are need- con un solo material —las construcciones de madera o piedra requieren, por ejemplo, al menos piezas de metal para las bisagras— ed for hinges at least, whereas in these cellars, everything is made relentlessly of steel.

The tilted, skewed plates of the walls —the elements are 38 centimetres wide ponen en el lado noroeste, en una hendidura que da a la ladera y al bosque. However, the corridors and spaces are also articulated and highlighted by dramatic natural and artificial lighting. At the same time, the stones are set a certain distance back from the steel units, cre- ral y artificial —finas franjas de luz que, especialmente en la sala de catas, suscitan un ambiente sacro y, curiosamente, enfatizan el ating a sensation of weightless floatation in the light.

Un desarrollo ulterior en la arquitectura simultaneous project for the Arboleda Park in Begur, Girona En su arcaica simplicidad, y riguroso y ritualizado orden, el proyecto refleja la sinceridad y temple reflects the sincerity and emotional feel of the ageless vernacular traditions of La Garrotxa. Jinan Hotel project in Bawadi, Dubai, United Arab Emirates is a city in the manner of an immense house within walls.

Josic, Candilis y Wood The ambience is entirely about carefree play and playfulness, fantasy imagery, hide-and-seek.

El ritmo sincopado de estos cilin- spatial interaction with the children. The architecture gives rise to a feeling of weightless floatation, which is especially heightened by the dros y pilares circulares sugiere el de un bosque de cuento de hadas, o juncos gigantescos de una imaginaria planta tropical.

Todo suppression of the structural elements: the structure is clear and clean, but it has not been specifically expressed. An inte- te diferentes tanto fuera como dentro del recinto 'amurallado'. Un patio interior, parcialmente cubierto por una lona tensada, ofrece rior courtyard —partly covered by stretched canvas— provides a safe, well-controlled playing area for children of different ages. Con todo, esta caja de juguetes is just as much for adults as it is for infants.

Profound architecture has always two contents. La gran it is also about the discipline and history of architecture at the same time. Los forjados se sioning and appropriate spatial distances.

The floor plates extend from wall to wall and seem to float in the space. On both sides, steel extienden de muro a muro y parecen estar flotando en el espacio. A ambos lados, a lo largo de los muros medianeros y tras unas lattices screen narrow zones along the party walls for vertical circulation and secondary functions. La cubierta de tejas rojas procura un contrapunto material a los muros de piedra y a la depurada estructura de acero, seems to exist in present tense. He also points out the essential ambiguity in their projects.

A menudo, me hacen recordar una tecture: "Destroying and constructing are equal in importance, and we must have souls for the one and the other". El Edificio Plaza an intensely black steel frame structure. Mien- and mysterious, familiar and unique. One can easily imagine the sound effect of a fast drumming rhythm suggested by this structure.

Las fachadas son casi enteramente de vidrio, pero el movement, in opposition to the visually passive skins of the neighbouring buildings. The standard office floors are well lit through the frames that function as realzado movimiento que se contrapone a las envolventes visualmente pasivas de los edificios vecinos.

La The Library is very dynamic spatially, with vertical and horizontal interactions through and between spaces. No he podido visitar ni ver in Rodez, southern France. We need to remember that architecture is constituted in rioridad. La base del museo, de escasa altura, crea una suerte de pedestal sobre el que las through a unifying horizontal volume. En uno de sus frentes, el museo descansa tranquilamente sobre objects. Todo el over a stone-paved slope.

Especially the varied systems of daylighting and artificial illumination provide different ambiences of light, yet ridad y sentido. In opposition to the standardly white and immaterial spaces of contemporary art museums, which sentido coherente y unitario. Contemporary museums usually provide an even whiteness and immateriality as the Museo Soulages las obras de arte de Pierre Soulages reciben siempre la luz contra un fondo de superficies justamente oscuras.

Y, background for art, whereas the Soulages Museum provides spaces that seem to breath between light and shadow. The light of the Soulage Museum has the 'thingness' Museo Soulages propone espacios que parecen respirar entre luz y sombra.

La luz del Museo Soulages posee la 'cosicidad' sobre la que escribe James that the eyes touch, that the eyes feel. In fact, there is a curious affinity between the watercolour sketches of the architects and the sale de los ojos". The six equally distanced floor plates equidistantes de las losas del edificio generan una estructura profunda, que, no obstante, queda interrumpida por espacios vertica- create a deep structure, which is penetrated by vertical spaces that function as gathering spaces Library, Cultural Agora and Forum.

The stepped facades with their horizontal Biblioteca y Hogar de jubilados de Barcelona. Los arquitectos se muestran and transitions of construction elements. La relativa oscuridad de the tectonic structure has a material and haptic presence.

En los proyectos de RCR, paisaje y edificio entablan the earth. In RCR's projects, the landscape and the building create a relaxed but meaningful and subtle interplay. El Crematorio nation, but a transition.

There is a light of hope even in the darkest of shadows. Regresamos al nia , but determinately returned to their home town of Olot in northern Catalunya.

Siempre hemos convivido con esta dualidad. Pero lo cierto es que este lugar nos hace ver they were not the ones we wanted. We have always lived with this duality.

But the truth is that this place makes us see architecture in a la arquitectura de una forma particular", confiesa Rafael Aranda. Significativamente, publicaron en un precioso libro sobre las tradiciones canic Region of La Garrotxa Natural Park II, Thames and Hudson, , p Si bien, a menudo apuntan las cualidades abstrac- The works of RCR are rigorously tectonic, architectural and professional.

The airi- Donald Judd. Smithson, Michael Heizer y Walter de Maria. Esta and meanings. Su obra, que se ha desarro- ulated, layered and playful. Pese a su relativa juventud, RCR han creado alien cultures, as attested by the quality of their recent projects abroad. Almost by definition, minimal aesthetics tend to eliminate experiences of time, but the works of RCR are able to convey a en el extranjero, en culturas que les son ajenas.

Member of the Pritzker Architecture Prize Jury , he has published 50 books and essays, articles and prefaces, and his y sus escritos han sido traducidos a 35 lenguas. Palacio de Akasaka, Tokio 20th May Akasaka Palace, Tokyo. Pritzker and members of the Pritzker family; ladies and gentlemen, good evening. Los sentimientos en infinita amalgama se superponen unos a otros en este momento, pero por encima de todos ellos el this award in the future. There is an infinite mixture of many overlapping feelings that we are experiencing now, but the strongest sensation agradecimiento: is one of gratitude:.

To each and every member of the jury, to each and every one of our collaborators, to each and every one of our de los miembros de nuestras familias, y amigos, …a Montse. The second best decision was to do this from our la siguiente, y que lo hayamos seguido hasta hoy nuestro mayor logro. Porque la home town, Olot.

That we have been able to do this together for so many years together is an achievement. Y en este viaje perseguir alcanzar to dream and we love to build. For us, architecture is the art of materializing dreams throughout a long journey.

Sin nube no hay "If you are a poet, you will see clearly that there is a cloud floating in this sheet of paper. La nube es esencial para there will be no rain; without rain, the trees cannot grow; and without trees, we cannot make paper.

The que exista el papel. Sin la luz del sol, el bosque no crece y, si If we look into this sheet of paper even more deeply, we can see the sunshine in it. Y there, the forest cannot grow. And we see the wheat. Supongamos que vamos devolviendo alguno de estos elementos a su fuente: devolvemos al sol su Suppose we try to return one of the elements to its source.

Sin todos los elementos 'no papel' como la the logger to his mother Tan fino y delicado como es, y contie- logger, sunshine and so on, there will be no paper. As thin as this sheet of paper is, it contains everything ne el universo entero". We must admit that it may not be easy, but our commitment is to awaken emotions in the people who live in the spaces we create.

To A ser conscientes de su experiencia, a comprender lo natural y a transcender lo predeterminado, a alcanzar nuevos e inesperados become conscious of their experience, to comprehend the true nature of things and to transcend the established, to arrive to new and resultados.

Porque queremos unexpected results. Architecture is like music, but less ephemeral. It is like poetry, but more prosaic. All this is because we want to feel sentir y hacer sentir. It is the part of our lives and we offer to others. Hacia ellas dirigimos nuestras And we want to continue to dream, to wake up again and again, and live this and many other magical realities. Aranda, C. Pigem, R. Bjerregaard, M. Cottone, F. De Bruyn, D. Delarue, K.

Fujii, A. Heck, M. Marcos, L. Mottin; Architecte des monuments historiques: P. Ollivier, D. Vens, E. Verstraete, H. Sagot Colaboradores A. Moura, V. Vitoriano, D. Breatnach, D. Leikina Concurso ; M. Cottone, M. De Waele, K. Van Nieuwenhuyze, C.

Vilalta , G. Figueras, B. RCR: G. Del Valle, I. Morizet, R. Kobayashi, L. Ricardo, T. Coelho, S. Irala, V. Klasen, C. Medina Concurso ; F. Merce, P. Morizet Anteproyecto ; P. Sawyer, J. De Bruyn, G. Ollivier, F. Faustino, E. Garcia, M. Geens I. Garcia, S. Figueras, P. Casas, R. Tarradas, J. Choi, O. Sanz, P. Moura, I. DeAzevedo, A.

Navarro, P. Kuczynski, C. Wittenbeck, A. Schmid, D. Leikina, I. Breathnach, C. Vilalta : Colaboradores A. Llimona: V. Vazquez, C. Roure Proyecto ; N. Sintes Maqueta ; M. Ortega, G. Puigvert, H. Garcia, A. Saez, S. Figueras PE V. Garcia, D. Breathnack, K. Vilalta ; I. Llimona, V. Vilalta : S. Moura, N. Baldayo, P. Navarro, D. Conway, D. Romanet, P.

Ibarra, G. Navarro, S. Prattes, P. Lobianco, P. Delarue, J. Rotoli, K. Giraud, M. Panni, F. Paulicelli, C. Kuczynski, A. Vilalta A. Jacunskaite, O. Nouska Concurso ; Colaboradores M. Kielian, CH. Onisiforou, R. Kobayashi, S. Tarradas, Colaboradores C. Franco, I. Mortier, A. Hidalgo, F. Hidalgo, S. Figueras, J. Porovic, V. De Castro, P. Bourgade, A. Pornaro, T.

Medina, C. Onisiforou, D. Delarue, P. Bolinches, N. Lopes, I. Garcia jefe proyecto ; A. Chabanne, I. Arraut, A. Santesmasses Proyecto Ejecutivo ; O. Mortier, I. Hidalgo Maqueta ; Exedra: A. Luaces, Clean Energy Instalaciones ; S. Vilalta RCR: A. Hidalgo, J. Mortier, M. Loureiro Maqueta ; Colaboradores B.

Franco, N. Lodey arquitecto a pie de obra ; D. Breathnach, I. Laugier, P. Vilalta : Exedra: A. Jacunskaite, A. Nouska, N. Lopes, O. Choi, D. Hallundbaek, V. Geller, R. Delarue, O. Vilalta : G. Provincie Oost-Vlaanderen. Colaboradores A. Baldayo, V. Vitoriano, P. Lodey C. Al Hajaj Universiteit Gent. Instituut voor Breedbandtechnologie A.

Navarro, V. Rabecq Proyecto ; Colaboradores L. Cazala, G. De Cock, F. De Bruyn, J. Garric, M. Kielian, R. Moura, C. Onisiforou, M. Verstraete, Exedra: A. Vilalta P. Cottone, G. Puigvert Proyecto ; L. Cazala, F. De Cock, J. De Schepper, Varis Arquitectes D. Garcia, L. Kobayashi, Colaboradores G. Vitoriano, J. Pellet, F. Faustino, P. Vitoriano Maqueta ; V. Lippmann, P. Torio, G. De Cock, Colaboradores S. Sawyer Concurso ; T. Deltour, E. Prattes, J.

De Groote, G. De Vriese, G. Tarradas, K. Van Nieuwenhuyze, V. Geens, I. Dalmasas, D. Delarue, A. Lippmann, Colaboradores I. Arraut, L. Mortier, V. Pires, A. Vicente-Arche Proyecto ; J. Tarradas, N. Lopes, F. Vilalta F. Faustino, A. Fuentes, J. Villar, R. Casas, G. De Schepper, T. Deltour, O. Moura, J.

Pailleux, E. Santesmasses, A. Villar, I. Ramm, L. De Groote, K. Geens, J. Cerrar sugerencias Buscar Buscar. Saltar el carrusel. Carrusel anterior. Carrusel siguiente. Explora Audiolibros. Explora Revistas. Explora Podcasts Todos los podcasts. Dificultad Principiante Intermedio Avanzado. Explora Documentos. Compartir este documento Compartir o incrustar documentos Opciones para compartir Compartir en Facebook, abre una nueva ventana Facebook.

Denunciar este documento. Marcar por contenido inapropiado. Descargar ahora. Carrusel anterior Carrusel siguiente. El Croquis - Eduardo Souto de Moura Buscar dentro del documento. Entrance, offices, auditorium and restaurant Planta nivel inferior.

East-West Zona infantil. Atelier-workshop Planta baja. References Casa Kama. References Casa Alwah. Andrea Diaz Lacalle. Alejandro Prada. John Anderson. Dobre Mihai. Pedro Hasse. Lera Denisova. Mihai Cinieru. El Croquis Caruso St John El Croquis Studio Mumbai El Croquis Smiljan Radic El Croquis Carmody Groarke El Croquis 6a architects El Croquis Go Hasegawa El Croquis Sergison Bates El Croquis Aires Mateus El Croquis Christian Kerez El Croquis Eduardo Souto de El Croquis David El Croquis Steven Holl El Croquis Sean Godsell El Croquis RCR arquitectes El Croquis Glenn Murcutt El Croquis Bevk Perovic El Croquis Neutelings El Croquis Valerio Olgiati El Croquis Aires Mateus El Croquis Sou Fujimoto El Croquis Experimentos El Croquis Souto de Moura El Croquis Sistemas de El Croquis Juan Navarro El Croquis Cero.