Spain/Portugal 2010

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SPAIN/PORTUGAL 2010VOLUME 1

A GUIDEBOOK FOR THE 2010 SPAIN/PORTUGAL SUMMER PROGRAMIllinois Institute of TechnologyCollege of Architecture

Adjunct Assistant Professor Romina CannaStudio Assistant Professor David Goodman

SPAIN/PORTUGAL 2010VOLUME 1

A GUIDEBOOK FOR THE 2010 SPAIN/PORTUGAL SUMMER PROGRAMIllinois Institute of TechnologyCollege of Architecture

Designers, Editors, Co-Authors:Adjunct Assistant Professor Romina CannaStudio Assistant Professor David Goodman

Authors:Matthew AbbottAyesha AkhtarLulu Al-AwadhiJulie AlkhovskyDaniel AronbergAric AustermannSasha BreneckiEric ChengDaniel CiorbaMichelle DavidsonMatt DevendorfStacy EconomyJacob ErnstElaine ErwinNicole FirnbachTom FoltaCollin JanecekAngela KhermouchEun KimJoseph KlimekDaniel MedranoJustin Miller Stacy MortonDanny MuiJeff PerkisMatt RenfreeAldair RenteriaArchit SawhneyKatsiaryna ShpakErin SkvorcBryan SlonskiSamantha SpencerTyler StellwagMark SwinglerBenjamin TolskyTeodora VasilevLauren WissmanTim WongYu Zhang

Special thanks to IIT College of Architecture Dean Donna Robertson and Director ofInternational Affairs Timothy Brown for their encouragement and support.

Thanks also to the students of the Spain/Portugal Program, whose hard work and enthusiasmmade this publication possible.

FOREWORD

This book, the first chapter of a two-part saga, has been a collaboration between theprofessors and students of the 2009 and 2010 Spain/Portugal Summer Programs.

Volume I is our travel-mate; a quick index, a compass for orientation while we’re inthe field.

While making this book, we took an imaginary trip through the eyes of others. Weacted as collectors of images and ideas, filtering the material through our own wayof understanding, maintaining the distance of an observer, not a witness.

This book is full of fingerprints, an anticipation of the trip to come. It is a guide thatwill accompany our trip through Spain and Portugal, where we will experience first-hand the totality of the projects contained here.

Volume II will be the post-facto document, a log book of our experiences. There willbe no more intermediaries.

Traveling is nothing but discovering. This is the first step before taking off.

Adjunct Assistant Professor Romina CannaStudio Assistant Professor David GoodmanIllinois Institute of Technology

SPAIN/PORTUGALSUMMER PROGRAM 2009ILLINOIS INSITUTE OF TECHNOLOGY

INTRODUCTION:

When the Barcelona Olympic torch was finally ignited on July 25th, 1992, the city inaugu-rated much more than just the Summer Olympic Games. Barcelona, and the whole ofSpain, seemed to crystallize in one moment the years of hard work that had followed thedeath of the dictator Francisco Franco in 1975. Franco’s death, and the restoration ofdemocracy, opened Spain’s view to the world, initiating a fertile period of cultural anddemocratic development. Emerging from a long period of hibernation, and with billions in“cohesion funds” from the European Union, Spain developed an unstoppable spatial reor-ganization on all scales, from analysis of regional and urban structure to a new way ofthinking about a distinctly Spanish national architecture.

Nowadays, Spain is at the center of the discussion of architecture and urbanism, and allinterested parties have the obligation to understand this phenomenon. But Spain was notborn in 1992. During different periods, and tied to different dynamics, the country hasbenefitted from the rich flow of cultures that built the country, and the conflict that oftenaccompanied the transition from one to the other. This country in the Mediterranean Seahas been home to Phoenicians, Romans, Visigoths, Muslims, Jews, and Catholics; theSpanish are a mix of all of these cultures, and this hybrid cultural legacy has left indeliblemarks on their cities.

Cities in Spain are the accumulation of layers of this varied history. We will trace this his-tory from different points of view, trying to understand its distinct episodes and also itsbroader cultural and historical background. In order to do this, we will traverse centuriesof architecture and urbanism revealing not only material structures, but also the thoughtsbehind the interventions.

Spain has now entered a new period of cultural foment; globalization and the unification ofEurope have, perhaps, begun to dilute the "Spanishness" of the country's architecture, asit uses a newfound prosperity to attract architects from around the world: Zaha Hadid,MVRDV, Herzog & deMeuron, Norman Foster, and Wiel Arets, among others. We will seethese projects as well, examining the latest layer to be added to the cultural mix that isSpain.

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MADRID When King Philip II transferred the Royal Court from Toledo to Madrid in 1561, the dustyvillage at the center of the Iberian Peninsula suddenly became the seat of empire. Somehave argued that it has always remained a village at heart -- its spirit has long had more todo with the towns and villages of land-locked central Spain than with the cosmopolitanspirit of other European capitals.

Since the restoration of democracy in Spain in 1978, however, Madrid has been, quite lit-erally, at the center of a rebirth of a dynamic country, and the grimy, somewhat provincialcapital is now a confident and self-consciously progressive city. With massive investmentin public infrastructure and singular works of architecture, Madrid has reinvented itself,once again, as the seat of empire. Today, Spanish companies, headquartered in Madrid,are world leaders in renewable energy, communications, banking, and public infrastruc-ture, once again colonizing the Americas, and parts of continental Europe. Their power,and that of the post-Franco economic boom in general, is visible throughout.

As the new money reshapes Madrid, the city loses some of the awkward charm it onceexuded: no longer an overgrown village, Madrid is now a teeming, slightly out-of-controlEuropean capital. struggling with traffic, immigration, and air pollution. Starbucks andEuro-chic bars have replaced the romantically neglected cafes and neighborhood divebars. If you lose yourselves in the neighborhoods, though, the old Madrid remains.

City Population: 3,010,500Metropolitan Area: 5,840,000

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PROJECT LIST

Museo del Prado Addition Rafael MoneoCaixa Forum Herzog & de MeuronReina Sofía Museum and Additon Jean NouvelRetiro Gymnastics Pavilion Ábalos y HerrerosTorres Blancas Javier Saénz de OizaBBVA Tower Javier Saénz de OizaNuevos Ministerios Secundino Zuazo UgaldeMirador Housing MVRDVTelefónica Headquarters Rafael de la HozTowers on La Castellana Norman Foster, Harry CobbAtocha Station Rafael MoneoPalace and Monastery of El Escorial Juan Bautista de Toledo, Juan de HerreraCasita del Principe Juan de VillanuevaEl Croquis Headquarters Fernando Márquez Cecilia, Richard LeveneToledo Entrance Escalators Torres Tur and Martínez LapeñaToledo CathedralMonestary San Juan de los ReyesArchivo de Castilla la Mancha Guillermo Vázquez ConsuegraToledo Convention Center Rafael MoneoMadrid Regional Library Mansilla y TuñonUsera Library Ábalos y HerrerosPradolongo Housing Wiel AretsValdemoro Swimming Pool Alberto NicolauCasa do Brasil Luis Alfonso d'Escragnolle FilhoCelosia Building MVRDV with Blanca LleóCarabanchel Housing Foreign Office ArchitectsEco Boulevard Ecosistema Urbano Arquitectos Vallecas 11 Housing, Vallecas 51 Housing SOMOS ArquitectosParque Juan Carlos I Emilio Esteras and Luis EstebanCarabanchel Housing Dosmasuno ArquitectosParish Church of Santa Mónica, Rivas Vaciamadrid Vincenz y Ramos ArquitectosCasa Levene in El Escorial Eduardo Arroyo

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Museo del Prado: Ampliación Rafael Moneo

original building: 1785-1819addition: 2001-2007

Ruiz de Alarcón 23

Metro: Banco de España - L2

The Museo Del Prado was originally designed by the architect Juan de Villanueva on theorders of Charles III in 1785. Its function as a museum was not decided upon, however,until 1819 when it was opened to the public for the first time. Since then it has served asa museum of art displaying Spain's greatest collection of paintings, sculptures, prints anddrawings.

On November 29, 2001 work began on an expansion to the museum that would enlarge itby over 50%. The architect for the addition was Rafael Moneo, who designed a prismaticvolume on the site of an existing cloister, and a low-slung band connecting the old andthe new. The project was completed on the 13th of March, 2007 at a final cost of 152 mil-lion Euros. The project added 22,513 square meters to the museum and 13,363 meters ofimprovement to the surrounding streets. The new addition to the museum can only beseen if one enters the museum from the back or side: from Paseo del Prado, the appear-ance is unchanged.

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This museum is a is a modification of a 1899 power station of historically significantindustrial architecture.

The base of the building has been removed, creating an indoor/outdoor place at the baselevel. This gives this building a floating appearance in defiance of gravity, directing visi-tors inside. The existing building is treated with care, but not with reverence, as newopenings are made, and a vertical extension seems to extrude the original volume sky-ward.

This project is a tale of two stairs: the first, a mysterious metallic appendage that connectsthe suspended building to the building above. The second is a white concrete spiral thatspans the three main volumes of the project: new, existing,

Caixa Forum MadridHerzog & De Meuron

2008

Paseo del Prado 36

Metro: Banco de España - L2

Museo Reina Sofía AdditionJean Nouvel Ateliers

2005

Calle de Santa Isabel 52

Metro: Atocha - L1

The Reina Sofía Museum was designed during the 18th century by King Charles III's courtarchitect Francesco Sabatini. Originally, the building was a hospital, and had been alterednumerous times. In 1977, the building was declared historically significant and turnedinto a museum.

A competition was held for an addition to the museum. The purpose was to create a sectorto accommodate a variety of supplemental functions, thus freeing up the original museumfor the permanent collection. Jean Nouvel won first prize for the competition. In hisdesign, he created three pavilions: a library (24,000 sf), a bookshop (600sf), and a tempo-rary exhibit space (78,900 sf). The temporary exhibit space houses the restaurant, caféand two large auditoriums. A central courtyard connects the three pavilions. Nouvel addeda canopy over the entire addition that shades the area against the harsh summer sun. Nouvel wanted the roof to be an occupiable space that also serves as an observatory deck.Unfortunately, plans were changed during the building process, making the roof unoccupi-able.

The painted, reflective surfaces play a vital role in Jean Nouvel's design. He cut voids outof the canopy to allow controlled daylight to enter the building. Nouvel uses the voids,along with the bright surfaces, to manipulate the light that enters the building.

The museum addition contrasts starkly with the original museum and the surroundingneighborhood. Nouvel's building is characterized by bright red, reflective surfaces. Tuckedunderneath the addition is the original building, made of load-bearing masonry walls.

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For this sports pavilion in the middle of Madrid’s most emblematic park, Ábalos yHerreros proposed a platform three meters tall surrounded by trees and translucent walls.The trees were essential for shade and to shield the building from view.

The building contains offices, changing rooms, storage areas, and an illuminated double-height gymnasium, clad with a mesh design on the façade.

Pabellón de GimnasiaÁbalos y Herreros

1999 - 2003

Parque del Retiro

Metro: Retiro - L2

Observations: The flexible display allowed the archi-tects to use the roof as a tennis court.

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Torres BlancasJavier Sáenz de Oiza

1969

Avenida de América 37

Metro: Ventas - L2 and L5

Observations: Private apartment building

Torres Blancas, completed in 1969, is a multipurpose tower that rises 81 meters. Thebuilding consists of 160 apartment units of varying shapes and sizes generated from theWrightian pinwheel plan. Built of concrete, the organic tower seems to have been extrudedfrom the ground. Large balconies offset the round narrow shapes adding variety to thefaçade and helping to keep the building cool.

The landscaping, some of which overflows from the balconies, and the wood cladding ofthe roof compliment the concrete and add to the natural feel. The roof is also home to allpublic spaces, pool, and a restaurant.

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The BBVA Tower, previously known as Banco de Bilbao, is one of the most significant sky-scrapers in Madrid. The building is 125m tall and has 30 levels: the top five are dedicatedto the company Board of Directors, the basement houses an auditorium, and the remain-der serves as office space.

Sáenz de Oiza developed a core structure and an open plan in his design, creating flexibil-ity within the interior as well as allowing natural light to cross from side to side. Thefacade is made out of steel and glass panels with sunshades integrated. It is believed thatthe design of BBVA Tower was influenced by the skyline and skyscrapers in Chicagowhich Sáenz de Oiza studied in depth during his trip to the United States.

Torre BBVAJavier Sáenz de Oiza

1979 - 1981

Paseo de la Castellana 81

Metro: Nuevos Ministerios - L10 and L8

This enormous government ministry building was proposed and designed in 1932 bySecundino Zuazo Ugalde, but the construction was not fully directed by Zuazo, as he wasexiled following the Civil War. In 1930, the city of Madrid expanded its borders on thenorth/south axis of Paseo de la Castellana. The Minister of Construction, Indalecio Prieto,hired Zuazo in order to design a building that would house all of Spain's ministers andserve as a monument for the Republic of Spain.

The design references El Escorial as a basis for design with a mix of modern architecturefrom before and after the war. The construction began in 1933 and, due to the war, wasn'tfinished until 1942 and didn't become fully functional until 1953.

Nuevos MinisteriosSecundino Zuazo Ugalde

1932-53

Metro: Nuevos Ministerios - L10 and L8

Observations: Interiors Closed to Public

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Edificio MiradorMVRDV

2004

Calle Princesa de Éboli 21

Tren Ligero: Virgen del Cortijo - L1

Observations: Private Apartment Building

The 22-story building located in Sanchinarro, a suburb northeast of Madrid, acts as a "ver-tical neighborhood", built with a mixture of social groups and lifestyles in mind.

There is a void inside the building's rectangular shape, which frames the distant landscapeof the Guadarrama Mountains and also serves as a public space.

The elevated public space is surrounded by different housing types, which create blockscontaining a total of 156 units. The blocks are articulated by colors and material of thefaçade. The bright red strips between the blocks of the building indicate the location of thecorridors.

Torres en La CastellanaHenry Cobb, Norman Foster, César Pelli, Carlos RubioCarvajal y Enrique Álvarez-Sala Walter

2008

Metro: Begoña - L10

Observations: These towers are the tallest in Spain.Madrid's Barajas Airport modified its emergency flightpaths to avoid the buildings.

The 250m-tall Torre Caja Madrid was the first and tallest of the towers followed by TorreEspacio (236m), Torre de Cristal (249.5m), and Torre Sacyr Vallehermoso (236m). Thebuildings have service and vertical circulation cores that occupy minimal space and framethe open office floors. These cores are strategically positioned to block the west/east directsunlight, a move that has the added benefit of framing the spectacular views of the hills ofSierra de Guadarrama to the north and the center of Madrid to the south.

At ground level, a 22-meter glazed atrium provides the transition from the street, andaccommodates a 'floating' glass-walled auditorium set into a mezzanine. At the top of thetower, there is a void space beneath the uppermost section of the 'portal' frame isdesigned to house wind turbines as a possible future addition.

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Telefónica uses its new headquarters on the outskirts of Madrid to create an image of hightechnology, efficiency, and power. The glass used for the fins is unique to this buildingand it helps shade the building. This building also contains such amenities as restaurantsand a gymnasium.

Distrito de la Comunicación de TelefónicaRafael de la Hoz

2004 - 2008

Ronda de la Comunicación s/n

Metro: Ronda de la Comunicación - L10

The Pradolongo Housing was designed by firm Wiel Arets Architects, led by Wiel Aretsand Bettina Kraus. It was built in a neighborhood south of central Madrid and north of theM40 perimeter highway ring.

There are 144 apartments in all. The apartments to the east and the west are placed so thatthey seem like extensions of the adjacent Pradolongo Park with horizontal strips that runalong the building to help create this illusion. The space between each building wasdesigned in the format of private squares or courtyards in order establish an atmospherethat combines both the park adjacent to it and the urban city life of Madrid.

Viviendas en PradolongoWiel Arets

2002 - 2008

Calle del Doctor Tolosa Latour and Avenida de losPoblados

Metro: Hospital 12 de Octubre - L3

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Casita del PríncipeJuan de Villanueva

1771-75

Cercanías: San Lorenzo de El Escorial - C-8A

The Casita del Príncipe is located between two gardens in the Jardines del Príncipe at ElEscorial.

The building is a small neoclassical palace that was home to the Prince of Asturias, laterCarlos IV. It is known for its architectural exterior but also the conservation of its interior,which is open to the public. Its décor dates back to the 18th century and includes tapes-tries, lamps, clocks, furniture, and paintings with mythological themes. It is comprised oftwo floors and an additional wing that was added ten years after the completion date.

Editorial El CroquisFernando Márquez Cecilia and Richard Levene

1998

Av. Reyes Católicos 9


observations: The building houses both the mag-azine offices and an architecture gallery.

El Croquis is one of the most respected and successful architectural magazines available.Their headquarters was completed in 1998, with a building situated in a suburban envi-ronment in El Escorial near Madrid.

The architects are Fernando Márquez Cecilia and Richard C. Levene, who are the mainpublishers and editors of the El Croquis magazine. This building is very much inspired bythe surrounding landscape: a rocky site with a steep grade. The elevations, with theirirregular horizontal striations, resemble different layered structures. The complex is com-posed of two buildings laid out in an L shape in plan, with a connection on the groundfloor. The opaque faces of these prisms are coated inn Roman travertine marble and irokowood, with flooring throughout of iroko wood.

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El Escorial was commissioned by Felipe II as a royal palace, a monastery, and a necropo-lis for the Spanish kings, in particular as the final resting place of Carlos V. The plan wasdesigned by Juan Bautista de Toledo, a Spaniard who had been working in Rome asMichelangelo's assistant on St Peter's Basilica in the Vatican City. He had been appointedas the royal architect of Spain by Felipe II in 1559. Upon his appointment, Juan Bautistade Toledo immediately returned to Spain. His wife and children were to come via boat afew months later, but sadly their boat sunk and they died. Juan Bautista de Toledo wasnever able to recover from the loss of his family and it greatly affected his ability to work.

Construction on El Escorial began in 1563, Juan Bautista de Toledo died in 1567 andJuan de Herrera took over. Juan de Herrera had been appointed as assistant to JuanBautista de Toledo in 1563 due to Toledo's inability to meet deadlines, appear at appoint-ments, and get work done. El Escorial was finally completed in 1584, and was consideredone of the Seven Wonders of the World, symbolizing the power, and profligacy, of theSpanish Empire.

Today El Escorial is one of Spain's top tourist attractions. The basilica is located in thecenter of the monastery. The mausoleum contains the crypt of the kings where all of theSpanish kings are buried along with Isabella II.

Palacio y Monasterio de El EscorialJuan Bautista de ToledoJuan de Herrera

1563 - 1584

Calle Juan de Borbón and Battemberg s/n.San Lorenzo de El Escorial


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Biblioteca Regional Mansilla and Tuñón

2003

Calle Ramírez de Prado 3

Metro: Delicias - L3 or Méndez Álvaro - L6

Architects Mansilla and Tuñón converted the Aguila Brewery into the Madrid RegionalLibrary in 2003.

The original building was completed in 1914. The 30,000 square meter space containsjust under 100 kilometers of shelving space. The varied program contains multimedialibraries, traditional book storage, and governmental document storage. These spacesoccupy the old industrial areas of the former brewery. Even the old silos are used, nowcontaining book storage. The distinctive façade is a creation out of necessity due to thestrict fire codes in Madrid. The blending of the old and new creates an interesting juxtapo-sition that responds to the city's past vernacular as well as its modern advancements. Theinterior spaces feature rich materials and open spaces for document review.

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Moneo’s expansion and reconfiguration on Madrid’s Atocha Station, central hub of Spain’sambitious rail system, combines an existing 19th-century train shed with the new require-ments of modern day rail transport. The existing train canopy is dedicated to passengercirculation and a tropical wintergarden, with separate while commuter and inter-urban railfacilities are attached to the rear.

Moneo assembles these disparate elements into a potent urban composition: a sunkenplaza adjacent to the existing building provides a grand entryway, shielded from the trafficof the neighboring streets. Within the station, Moneo experiments with the typology of thetrainshed: instead of repeating the clear-span of the original building, he proposes insteada hypostyle hall with a canopy of spread column capitals forming the train shed’s roof - asubtle reworking of Wright’s Johnson Wax building. As in Wright’s earlier building, glaz-ing separates each of these capitals, admitting light into the monumental space below.

With the station’s parking garage, Moneo continues his investigation of the way in whichlarge roof structures can be resolved through repetitive smaller elements. Here, a series ofparabolic domes with oculi covers the parking deck, providing shade from the intensesummer sun, and endowing the otherwise prosaic space, with a vaguely postmodern mon-umentality.

The entire complex, which continues to expand, attempts to infuse the infrastructure ofeveryday life with a nobility and grandeur that recalls earlier modes of monument-making,far from the steel-and-glass technophelia that tends to be the default language for spacesof transport.

Estación de AtochaRafael Moneo, expansionAlberto del Palacio, original building

Expansion: 1985-1988, 2000-2002, current

Plaza del Imperador Carlos V, s/n

Metro: Atocha Renfe or Atocha - L1

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Celosía HousingMVRDV and Blanca Lleó

2009

Calle Isabel Clara Eugenia

Metro: Álvarez de Villaamil - ML1

This social housing block, constructed of polyurethane-coated concrete, is located in thevicinity of the Mirador Building in Madrid-Sanchinarro. Composed of 146 one-, two-, andthree-bedroom housing units, arranged in a checkerboard pattern, this perforated blockcreates housing and communal exterior spaces throughout the building with a parking andcommercial program in the plinth.

The architects open the city block, allowing natural ventilation and light to enter the build-ing through the carved-out void spaces, which offer vistas to the city and mountain areasand outside spaces for the residents of the Celosia. The permitted volume of the city blockwas divided into 30 small blocks of apartments, positioned in a checkerboard pattern nextto and in top of each other. Arranging these "blocks" in this manner leaves wide openingsfor communal patios throughout the building and all apartments are all accessed via thesecommunal spaces. Each entry sequence is designed to force residents off the public stairand onto the patio, in order to gain access to your front door. " We wanted to create mini-neighborhoods," explains Van Rigs of MVRDV. "People will pass by to get their apart-ments in order to activate this space."

These patio areas crate small orthogonal plazas like those in old Madrid, reconfigured in avertical cellular lattice. The Celosia building is horizontally arranged around the interiorcourt but opposes the generic introverted architecture in the area by allowing light andcommunal space into the building. Thus, creating an extroverted Spanish lifestyle asapartments open up to small plaza-like areas.

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FOA's Carabanchel Housing is one of a series of new public housing projects in a newdevelopment in southern Madrid in which regulation sets the number and type of units,sizes of certain areas, and heights, however, the design is left at the hands of many well-known architects. FOA's particular approach to this challenge involved creating units thatcould be manipulated individually and yet contribute to a building that reads as a whole.The building is situated on a parallelogram-shaped plot, running along a north-south axis,giving each unit access to both the east and west sides of the building on which runs awide terrace that is protected from the intense summer sun by a series of sliding bambooscreen panels. These panels give the building a uniform cladding, while still allowing theowner of the units to maneuver them to their preferences, giving the owners a sense ofpersonal identification with their unit.

Carabanchel HousingForeign Office Architects

2007

Calle de las Trompas / Calle de los Clarinetes

Metro: La Peseta - L11

Eco BoulevardEcosistema Urbano Architects

2004-2007

Bulevar de la Naturaleza, Vallecas

Metro: Congosto - L1

In 2004, the Madrid Municipal Housing Corporation's Residential Innovation Office spon-sored the Eco Boulevard Competition to design an outdoor urban space in Vallecas,Madrid. The aim of the competition was to re-imagine what an outdoor space truly wasand how that climatic change in perception would transform the outdoor urban space. Thewinning entry, submitted by Urban Ecosystems under the title "The Air Tree," proposedthree open air pavilions in a space, 50 meters wide by 500 meters long, which each wouldconsist of different programs and activities. The pavilions were designed to be a center inwhich social activity, organic growth, and thought would flourish. The materials of theactual pavilions are considered to be lightweight, deconstructable, and completely self-sufficient. The goal of this installation was simple; to "create an atmosphere that invitesand promotes activity in an urban public space that is 'sick'".

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Vallecas 11 and 51 HousingSOMOS Arquitectos

2009

Bulevar de la Naturaleza, 18; Av del Ensanche deVallecas, 51

Metro: Congosto - L1

The Vallecas 11 housing project is surrounded by other residential units, public facilities,and green areas; all surrounded by roads. This called for a maintaining of the block vol-ume, in keeping with the pre-established dialogue within the neighborhood. In order tobreak free of the monotonous cubic similarity, SOMOS Arquitectos developed a fragment-ed volume, separated by a void that serves as a communal yard.

The Vallecas 51 housing project includes 123 residential units, as well as two businessesand four floors of underground parking. The businesses are placed along the street face ofthe ground floor, while the ground floor apartments face the opposing green space. Thefaçade is divided into small units that form a dynamic wall of color and can be opened upwhere there are windows into the rooms. Double loaded corridors on the floors give wayto excellent cross ventilation and communal space. Two vertical circulation cores risethrough the building, grounding the interior courtyards. These slender stairs seem to jumpin the air to connect the levels, extending from the apartment access.

Parque Juan Carlos IEmilio Esteras and Luis Esteban

1992

Metro: Campo de las Naciones - L8

Located on the Northeast outskirts of the city of Madrid, the Parque Juan Carlos I is thelargest artificial park in Spain, boasting 1.6 million square meters of park space. The parkis broken into 1900 meters of navigable river, a 30,000 square meter lake, 21 hectares ofolive groves, as well as many walking trails, sports areas, gardens, and various otherareas of sculptures, and follies. The Garden of Three Cultures, located at the northern endof the park, represents the heritage of Spain's culture, with its Christian, Muslim, andJewish roots.

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The location of this apartment complex is unique because it connects the green forest areaof Carabanchel with the old public living complexes. It is an L-shaped building rotated soboth of its exterior sides are facing south, thus taking advantage of daylight. The east andwest elevations have the living spaces lined up along the linear plane, maximizing theamount of sunlight in the living spaces creating the atmosphere particular only to thislocation The views are also maximized by giving the apartments look out to the greenarea around.

The elevations are formed by the white polyester coated panels of expanded metal span-ning from floor to ceiling. While some of the panels are fixed, many of them are movable,allowing residents to create a random variation of the exterior elevation based on whattime of day it is or their personal preference. On the inner side of the building large boxesare cantilevered over to provide some occupants more space that is used as interior serv-ice space and arranged in a casual fashion.

Carabanchel HousingDosmasuno Arquitectos

2004-2007

Avenida de la Peseta, Madrid

Metro: La Peseta - L 11From the Metro station, walk northwest on Avenuede la Peseta. The building is on your right.

Building is not open to the public

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Parish Church of Santa MónicaVicens y Ramos Arquitectos

2008

Calle de Jazmín, Vaciamadrid, Madrid, Spain

Metro: Rivas Urbanizaciones - L9

The Parish Church of Santa Monica serves as both a parish center as well as place ofworship, and consists of two independent buildings. The goal of the architects, in com-pliance with the Diocesan Council of Temples, was to create a facility that both housed thequarters for the clergy and parish offices as well as functioning as a church.

Vicens and Ramos sought to integrate the project into the surrounding urban environmentby making it a pinnacle of the town. To achieve the spiritual function that it was designedfor, the architects created a structure that seemed to spread itself out to the nearby socialenvironment. Large steel porticos support the church and chapel while the housing andparochial rooms were constructed of reinforced concrete. They are clad in a corten steelskin, merging the two structures with plasterboard paneling inside. Unification was amain theme, both on the interior and linking the church to the misshapen site. The build-ing curves along its western side to follow the adjacent street contour and is cut-off at itsnortheastern face. The northern protrusions seem to reach out for light, which is filteredand visible on the interior. The light tunnels create blocks of light that resemble a cubistpainting. Five artists were hired to design the church fittings, including crosses, relics,and decorative images.

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This house is located 3,200 ft above sea level in a wooded area in San Lorenzo de ElEscorial. While designing this house Arroyo was developing a new methodology aboutsustainability. Rather than clearing the forest and flattening the land, the architect usedthe voids of the tree clusters to create the house spaces. By taking this approach thehouse was divided in to "arms", these are the spaces between the tree clusters. These"arms" were used to host different programmatic elements needed in a house, linking eachinterior space with the exterior -- the house is never more than one or two spaces inbetween trees.

All the spaces are designed based on their relationship to the forest and the need for pri-vacy. The façade transforms between glass and aluminum exterior based on the trees andthe shade capacity and the privacy of the "arm". The design creates a relationshipbetween the exterior, interior and environment, forming a union between the three. Thecolors chosen for the house are those that mimic nature; the façade is a dark exterior andthe interior is highlighted in an orange. The house does not impose on the site but adaptsand accommodates to what was already there.

Casa LeveneEduardo Arroyo

2007

San Lorenzo de El Escorial

TOL

The re-conquered territory which the Church of St. Mary of Toledo now occupies onceheld a Visigoth temple, then a mosque, and was converted to a Christian house of wor-ship. The old church was demolished in 1227 under Alfonso VI's rule, and the foundationfor the current Cathedral were laid. Following St. Ferdinand's foundation, master buildersPetrus Petri, Rodrigo Alfonso, Álvaro Martínez, and Hanequin de Bruselas each had ahand in directing the work from the mid 13th-century to the late 15th-century. These mas-ter builders oversaw the construction of the cathedral’s gothic elements, from the triforia tothe cloisters, to the extra widened arches.

From the late 15th-century to the mid 17th-century, Renaissance artists, masons, and car-penters worked on details from the larchwood Capilla Mayor to the chiseled marble chapelof El Transparente, to the story of the conquest of Granada sculpted into the walnut stallsof the Coro (choir).

The Cathedral removes the triforum found in typical Gothic architecture resulting in a two-staged interior elevation composed of an arcade and a clerestory that creates a squatbuilding, much wider and shorter than normal.

Catedral de Santa María de ToledoMaster MartínPetrus PetriRodrigo AlfonsoAlvar MartínezHanequin de Bruselas

1226 - 1493

Arco de Palacio 2

TOL

Before Isabella and Ferdinand defeated Portugal at the battle of Toro in 1476, they prom-ised they would build a church honoring St. John if they won the battle. They went toToledo in 1477 at which point they commissioned the San Juan de los Reyes church.When they returned in 1479 they were disappointed with what had been built and com-missioned a larger project. Originally they had intended it to be their final resting place,but these plans changed after the conquest of Granada in 1492.

Juan Guas, a French architect who was trained in Brussels and moved to Spain, met withIsabella in 1472 and was made the royal architect. After the victory at Toro he was placedin charge of designing San Juan de los Reyes. Although he died in 1496, before thebuilding was completed, the Convent of San Juan de los Reyes is considered his finestwork.

In 1809 Napoleon's army set fire to the church causing massive damage to it. It wasn'tuntil 1883 that the architect Arturo Mélida was placed in charge of a restoration that wouldfinally be completed in 1967.

Monasterio de San Juan de los ReyesJuan Guas

1477-1504

Calle San Juan de los Reyes 2

TOL

Palacio de Congresos de ToledoRafael Moneo

full inauguration expected in mid 2010

Paseo del Miradero, s/n

El Miradero, or Viewpoint, was given its name due its position on an ancient wall that pro-vides an unobstructed view of the valley of the Tagus river and the surrounding suburbs.With origins in the sixteenth century, El Miradero has aged with the city of Toledo. It hasseen many renovations throughout its lifespan, the most recent of which designed byRafael Moneo.

The building, most of which is below grade, houses parking and several auditoriums forconventions and conferences. The project is expected for full opening in mid 2010.

TOL

Elías Torres Tur and José Antonio Martínez Lapeña designed this underground car parkand covered escalator link to connect new city of Toledo with the historic core above. Theproject is set into the hillside, takes advantage of the spectacular views of the city. Theparking is excavated 30 meters into the hillside.

The six flights of escalators are set at slightly different angles and are sheltered by a seriesof cantilevered concrete slabs. The high technology and tremendous efforts are concealedhere, creating and architecture that blends into its environmental surroundings.

Escaleras de la GranjaTorres Tur and Martínez Lapeña

2001

Paseo de Recaredo

Consuegra’s archives for the Castilla-La Mancha autonomous region uses a ceramicfacade to create a hermetic, mute volume: a container for the records and documents with-in. The rust-colored facade rhymes with the arid, rocky landscape, and is here convertedinto a massive yet semitransparent block.

Archivo de Castilla-La ManchaGuillermo Vázquez Consuegra

1997 - 2005

C/ Río de Valdemarías, s/nPolígono de Santa María de Benquerencia.

Bus: 6.1, 9.1, 9.2

MAD

Biblioteca Pública "José Hierro”Ábalos and Herreros

2003

Avda. Rafaela Ybarra 43

Metro: Plaza Elíptica - L6 and L11 Bus 6, 47, 60 and 81

A tower sitting high upon the ground, the Biblioteca Pública José Hierro acts like a sky-scraper for the housing of books. Ábalos and Herreros deliberately re-describe the formtype of a skyscraper as an expansion of contemporary space and the contemporary typolo-gy the skyscraper creates.

The first thing one comes across upon entering the building is a dramatic triple-heightentrance space, followed by the discovery that the ground floor plan is extensive and isnot confined to the footprint of the tower above. The great heights and the atmosphere insemidarkness help to control light. The "cracks" in the façade fragment the relation with adull environment into small, particular views which recompose the outside world and cre-ate surprising glimpses of the context. Ábalos and Herreros took the urban, culturallydiverse site and make architecture of high impact that empowered the entire community.

One of Alberto Nicolau's first solo projects, the public pool at Valdemoro uses its programas a generator for formal investigation -- namely the development of a long-span structurefor the pool enclosure. Nicolau paid special attention on a truss system that would notonly be strong, but would also produce a series of wave-like contours.

Situated on an 8000 square meter site, the building uses glass extensively around itsbase, allowing the natural areas around the building to appear to flow inside. The siteextends out to a flat area of manicured lawn, on the same plane as the top of the water,further unifying the indoor and outdoor space. From the road above, the building appearsto form yet another facade, as light from within pierces the undulating roofline, whosecurves seem to be in constant movement. These curves echo the ripples of water, unifyingthe building’s image with its program.

Piscina ValdesanchuelaAlberto Nicolau

2007

Calle Valdesanchuela s/n, Valdemoro

Cercanías: Valdemoro - C-3

MAD

The Casa do Brasil is a Brazilian cultural school and dormitory.

Luis Alfonso d'Escragnolle Filho was the official architect for Brazil and designed thebuilding based on the location of the school. The topography of the land lent its configu-ration to the placement of the different blocks and individual shapes of the building. Theharmony of these separate blocks, along with the use of stilts and other structural sys-tems, are meant to give the building a sense of mobility.

One can note a clear affinity with the Brazilian interpretations of Le Corbusier (especiallythe Swiss Pavilion) common in Brazil at mid-century.

Casa do BrasilLuis Alfonso d'Escragnolle Filho

1962

Avenida Arco De La Victoria s/n

Metro: Moncloa - L6 and L3

COR

CORDOBA Córdoba served as capital of the Roman Provincia Baetica, a region of Spain that corre-sponds roughly to present day Andalucía, and was later the capital of a united MuslimSpain (al-Andalus), from 750 until 1031, when the peninsula was divided into independ-ent regions, or Taifas. During that period of relative political calm, Córdoba, center of theCórdoba Caliphate, grew to be the world´s largest city with nearly 500,000 inhabitants.The city was a world center of culture and study, and for long periods of time, Muslims,Christians and Jews co-existed peacefully here.

In 1236, the city returned to Christian control, and the city was gradually eclipsed bySeville, which benefitted from its trade with the Americas, Toledo and Madrid, which host-ed the Royal Court, and other cities like Barcelona and Zaragoza, that played importantroles in trade with Europe.

Today, Córdoba is a small city at the periphery of Europe, where traces of its former glorycan be seen in temples, ruins, and in the dense streets and patios of its historic core.

PROJECT LISTCórdoba Central Station Peña, Castro, y Puig Great Mosque/Cathedral of Córdoba Madinat-al Zahra Museum Sobejano y NietoAlcázar de Córdoba

City Population: 325,400Metropolitan Area: 351,000

PUENTE ROMANO

AVENIDADE

LAREPUBLICA

ARGENTINA

CALLE DE TORRIJOS

RONDA DE LOS TEJARES

CALLE CLAUDIO MARCELO

CALLE SAN FERNANDO

COR

Estacion de CórdobaPeña, Castro y Puig

1994

Glorieta de las Tres Culturas s/n

Bus: 3,10 and 11

Located in the Plaza de las Tres Culturas, across from the bus terminal, this is a train sta-tion built especially to handle the arrival of high-speed rail in this historic city. Steel, glassand concrete are combined to create a comfortable, light-filled station that is fully accessi-ble to people with reduced mobility.

Madinat Al-ZahraSobejano y Nieto

936-976; 2008

Crta. de Palma del Río km. 5,5

The fortified palace and city of Madinat-al-Zahra is a 1.52 kilometer long by 745 meter wide rec-tangle, divided into three terraces. At the highest point stood Caliph Abd al-Rahman Ill's palace,called Dar al-Mulk or Casa Real. The rest of the highest terrace was filled with government andadministration buildings, from which all of Muslim Iberia was governed. Destroyed in the 11thcentury, only a fraction of the complex has been excavated to date. Sobejano and Nieto’s sunkenvisitors’ center opened in 2008.

COR

Alcazar is the arabic word for palace or fortress; in Spain it has come to be used todescribe any of the several Royal Palaces, mostly in Andalusia.

The Alcazar of Córdoba was built for the king Alfonso XI on the ruins of several historicperiods, from the Visigoths, Romans and Arabs that populated the area in earlier cen-turies.

The palace was the main home of King Ferdiand of Aragón and his wife, Queen Isabella Iof Castilla until the reconquest of Granada in 1492. The place was the scenario where theKng and Queen received and listened to an adventurous Christopher Columbus and hisplans to get to the Orient. The meeting is remembered with a scuplture placed in one ofthe gardens.

The complex is surrounded by a wall, and structured around a diversity of gardens wherewater is the main protagonist, following the mudéjar tradition that characterizes many con-structions in the south of Spain.

After the King and Queen left the palace, the fortress became a jail during the Inquisition,and remained a state jail until 1931, when it became a military bulding. It was later don-taed to the city and converted into an historic site.

Alcazar de los Reyes Cristianos 1328

C/Caballerizas Reales

Bus 3 and 12

Observations: UNESCO World Heritage Site

COR

Built on the remains of former Roman and Visigoth temples, the Great Mosque of Córdobais a mix of structural innovation, cultural conflict, propaganda, and sheer monumentality.It is also a mysterious and beautiful place, still drawing visitors to this sleepy Andalusiantown to visit a true wonder of the world.

Begun in 785 by Caliph Abd al Rahman I, the first phase of the mosque appropriatedcolumns salvaged from the Visigoth and Roman temples, using them as bases for thepolychrome double arches that sprung from each pair. The game of one-upsmanshipcould not be clearer: the new order was built directly on top of the old.

Further hypostyle additions were made to the mosque over the following centuries, includ-ing the lavishly adorned Mihrab, or prayer niche, constructed under the rule of al HakamII. Each of these additions followed the structural example and module of the first. Thedark, mysterious interior, with its repetitive structural module, forms a haunting counter-point to the grid of trees in the Patio de las Naranjas courtyard.

When the Christian Reconquista reached Córdoba in 1236, the Mosque was convertedinto the city´s cathedral. While in many other cities, mosques were entirely destroyed toillustrate the the Catholic triumph over Islam, here, the mosque was spared, though a neo-gothic Catholic chapel was, in the 16th century, inserted into the fabric of the non-hierar-chical mosque, profoundly altering the space.

Great Mosque/Cathedral of Córdoba785-987; 16th-century chapel addition

Cardenal Herrero, 1


GRA

GRANADA Sitting at the base of the snow-capped Sierra Nevada mountains, Granada draws touristsfrom around the world to the Alhambra. Most of these tourists never bother to explore theenchanting city that surrounds it. When the day ends, and the tourist buses depart for thebeaches of Málaga, the real Granada appears in the narrow streets of the Albaicín quarter,where traces of the city´s Muslim past remain, and where an active student population fillsthis small city with a distinctly bohemian air, quite unlike other Andalusian cities.

PROJECT LISTAlhambra PalaceGeneralife GardensGranada Science Park Carlos Ferrater and Jimenez Brasa Arquitectos Museo de la Memoria de Andalucía Alberto Campo BaezaCaja de Granada Headquarters Alberto Campo Baeza


ALHAMBRA AND GENERALIFEALBAICIN

GRAN VIA

REYES CATOLICOS

CALLE RECOGIDASACERA DEL DARRO

GRA

Palacio de la Alhambra14th-century

Bus: 30 or 32 from Plaza Nueva


The Alhambra is located atop the Alhambra Hill, a foothill of the Sierra Nevada mountainrange. The Alhambra is a large Moorish Citadel which contains a royal palace. Much ofthe Alhambra dates to the reigns of Yusuf I (1333-54) and Muhammad V (1354-59, 1362-91) of the Nasrid dynasty. The citadel walls are made of stone and brick covered in plaster,and contain 22 towers. There are four main gates leading into the citadel. The most impor-tant gate is the Gate of Law dating to 1348. It contains 3 different kinds of vaults and theinscription "There is no God but God, Muhammad is His Prophet, There is no force orpower except in God.” It was through this gate that Isabella and Ferdinand first entered theAlhambra upon the conquest of Granada. The second gate, the Gate of Seven Heavens,was partially destroyed by Napoleon's army. The third gate is the Arrabal Gate, which isthe main connection between the Alhambra and the Generalife gardens. The final gate isthe Gate of Arms, which connects the citadel to the town of Granada. The Alcazaba was afortified city, or casbah, that makes up the western most portion of the Alhambra. It pre-dates the Nasrid dynasty making its ruins the oldest remaining part of the Alhambra.

Inside the Royal Palace, the Court of the Myrtles is a long courtyard with a pool runningthrough it. The Hall of Ambassadors rises over the North façade of the Court of Myrtles.Its rich decorations, dating from the reign of Muhammad V, occupy the largest and highesttower of the Alhambra. The Bath, which connects the Court of Myrtles with the Court ofLions, dates to the reign of Yusuf I. The relatively small Court of Lions dates from thereign of Muhammad V and is the most famous part of the Alhambra. Both the Hall of theTwo Sisters and the Hall of Abencerrajes have domes featuring ceilings with muqarnas, anIslamic design that looks similar to stalactites.

The Tower of Infantas, which appears on the fortification walls of the citadel, dates to thereign of Sa'ad (1445-61) and is the last Moorish addition to the Alhambra. The Palace ofCharles V, located just off of the Court of Myrtles, was added from 1527-68 after thereconquista. Charles V requested that the palace be built as the residence of the emperor.It was designed by Pedro Machuca, who learned architecture in Italy from Michelangelo.Upon his death in 1550, his son Luis Machuca took over design of the palace.

GRA

GRA

Generalife Gardenspresent day gardens:: Francisco Prieto Moreno

1302-1309 (present day gardens built: 1931-1951)

The origins of the term Generalife are disputed, but is mainly recognized as meaning "thearchitect's garden." It was originally built under Muhammad III and used as a place of restfor Muslim royalty.

After the Muslims were conquered in 1492 by the Catholics, the Catholic Monarchsassigned a keeper to watch over the gardens. In 1631 the task of keeper was assigned tothe Granada-Venegas family, who held this task until the state took it over in 1921.

The site of the Generalife was divided into terraces with 4 main vegetable gardens separat-ed by thick walls. The Generalife consists of the Palace of the Generalife, the RomanticObservation Point, the Water-Garden Courtyard, the Sultana's Court, and various foun-tains, colonnades, and pavilions. The entrance to the Generalife is notable as the exteriorpart is rural, uncommon for a palace; one must pass through various courts in order toreach the palace.

GRA

Parque de las CienciasCarlos Ferrater and Jimenez Brasa Arquitectos

2008

Avda. del Mediterraneo, s/n

Bus: 1, 5

An extension to the Science Park along the Genil River, this building holds space forresearch labs, auditoriums, and specialized department for experimentation as well asexhibition space for temporary collections. The idea here was to provide a roof whichoverlapped each part of the program creating variations in spatial conditions. The roof isseemingly laid over top allowing folds to be formed as the blocks of program are spacedapart. In between, where these folds happen, a large circulation area is created which alsoreceives different degrees of lighting from the folds in the roof. It is also said that thisform and roof structure is to mimic the skyline of the Granada Mountains. Primarily it is agrouping of program where the gaps in between are highlighted. This can be observed inthe materiality of the interior as well. The dark wood paneling covers the programmaticblocks when the roof and rest of the structure remain pure white. The importance lies inthese high alleys of space which narrow and widen throughout the building.

The folds, which are observed in elevation from the exterior, hold a new meaning whenseen from the inside looking up. These spaces vary in size and purpose and thus provid-ing a very abstract yet active circulation through the park. Not only do the gaps appear inthe interior but as well as on the exterior which become draw in points to the building.The white material used for the roofing also folds down into the walls like a large sheet.Light is very much considered in this project as it is only at certain areas where it isallowed to shine through. Yet the ceiling material may seem continuous throughout theentire park.

GRA

This is the only museum solely dedicated to Andalusia, the most populous of the seven-teen autonomous communities of Spain. The museum is split up into 4 salons: geograph-ical diversity, land and cities, modes of life, and art and culture. The museum drawsdimensions and design cues from other buildings from the same architect, namely theadjacent Caja Granada Headquarters. The building uses the same façade and even usesthe same width and height dimensions as the headquarters for the tower. Similarly, thedimensions for the elliptical courtyard are carried over from the courtyard of the Palace ofCharles the V in the Alhambra. The elliptic courtyard serves as a center point aroundwhich the building is arranged, with a circular ramp that connecting all 3 levels tracing thecourtyard’s edge.

Museo De La Memoria De AndalucíaAlberto Campo Baeza

2009

Avenida de la Ciencia, 2

Bus: 1, 4, 5, 10, 11

Caja de Granada HeaquartersAlberto Campo Baeza

2009

Avenida de la Ciencia, 2

Bus: 1, 4, 5, 10, 11

The main concept of this building lies within the ability to filter and direct light naturalwithin the core of a large cube. The headquarters achieves this through the use of sky-lights, arranged on a 3 x 3 x 3 meter grid of reinforced concrete, which collect the brightAndalusian sunlight. The roof rests on four monolithic three meter in diameter columns ofexposed concrete, which structures the eight story atrium. The dimensions of these struc-tures are colossal but it is concealed from the outside by a concrete grid facade.

The central interior courtyard, an "impluvium of light" relates to ancient Roman impluvia,which collected rainwater. Two alabaster-clad atrium walls help to filter and reflect hori-zontal natural light in order to illuminate the office spaces.

SEV

SEVILLA Capital of the Autonomous Community of Andalucía and Spain’s fourth-largest city, Sevillacarries itself with an air of importance. It was, after all, from here that Spain’s conquista-dores departed, Christopher Columbus among them. And it was here that they depositedtheir wealth. Though this wealth was gradually squandered, and Seville went into centuriesof decline, the city maintained its elegance, with stately homes for the land-owning aris-tocracy and broad avenues lined with orange trees. As post-Franco Spain took shapeunder Seville-born president Felipe González, the city found itself the beneficiary ofinvestment from the central government and the European Union. These investmentstransformed the city.

In preparation for Expo ‘92, a celebration of the 500th anniversary of Columbus´s voyage,the city was reconceived and connected to Madrid with the first segment of the high-speedAVE train. Though the Expo grounds were slow to be incorporated into the city, and Sevilleseemed once again to stagnate, the city has recently inaugurated a new metro and tramsystem, and has begun to pedestrianize important parts of its historic core. The transfor-mation of a capital city continues, and Seville, home of the mythical Carmen, continues tobeguile those who visit.

PROJECT LISTSanta Justa Station Cruz y OrtizRoyal AlcázarPlaza de EspañaAlamillo Bridge Santiago CalatravaEstadio Olímpico Cruz y OrtizInfanta Elena Library Cruz y OrtizDoña Maria Colonel 26 Housing Cruz y OrtizDiputación de Sevilla Cruz y OrtizPrevisión Española Rafael MoneoRecetas Urbanas (various projects) Santiago CirugedaAbengoa Tecnological Campus RSH+P & Vidal y Asociados Metropol Parasol Jürgen Mayer Architects

City Population: 699,800Metropolitan Area: 1,450,200

MEN

ENDE

Z PE

LAY0

AV. DE LA CONSTITUCIONCALLE SIERPES

CALLE ALFONSO XII

SEV

Catedral de Sevilla (Santa María de la Sede)1402-1506

Plaza del Triunfo

Tram: Archivo de Indias - T1

Observations: Named a UNESCO World Heritagesite in 1987.

Dress Code: shorts and t-shirts not permitted

The Cathedral of Sevilla is built on the large rectangular base-plan of the mosque that pre-viously occupied the site. It is the third largest church in Europe (after St. Paul's inLondon and St. Peter's in Rome) and the largest Gothic building in Europe. The nave ofthe cathedral is the longest in Spain.

The interior is lavishly decorated with gold, though it maintains an overall simplicity andrestraint in decoration. The 45 carved scenes from the life of Christ were the life's work ofa single craftsman, Pieter Dancart. It is carved in wood and covered with gold, making itthe largest and richest altarpiece in the world. Christopher Columbus’s tomb is here.

Santa Justa StationCruz y Ortíz

1987-1991

Avda. de Kansas City s/n

Bus: C1-C2

This train station was designed and built in a largely undeveloped area with the goal notonly of providing train services, but also to turn the surrounding community into a busyurban area. The station was designed as a three story building that stretched along thesite in order to provide the streets with a uniform line of reference. The building itself isdivided into six distinct naves, each articulated through varied lighting, and separate roofstructures, thus enforcing the sense of sequential spaces as passengers move through thebuilding.

SEV

This complex of palace buildings in Seville was begun during the Almohad dynasty andwas initially a Moorish fort. It has been home to many monarchs since. To this date thisplace is used by Spain's Royal family as their official Seville residence.

This palace contains beautiful gardens, corridors and courtyards that reflect the rich cul-ture and style of the Moors (Muslims of Al-Andalus) and the Catholic Monarchs who fol-lowed them.

Alcázar Real de Sevillabegun 913

13600, Alcázar de San Juan

Tram: Archivo de Indias - T1

Plaza de EspañaAníbal González

1929

Tram: Prado de San Sebastián - L1

The Plaza de España was built for Spain's Ibero-American Exposition of 1929. The con-struction of the exposition took 15 years to complete. The building was of brick, stone,and ceramic tiling. Centered around the fountain an array of ceramic tiled bridges leadpedestrians over a canal to what is now a series of government buildings. Along the outerface of the buildings is a string of benches. Each bench is dedicated to a province ofSpain. They are decorated with painted ceramic tiles that tell the stories of the Spanishprovinces. The Plaza de España is a clear representation of both the architectural progres-sion and historical progression of Seville's culture and Spanish history.

SEV

Alamillo BridgeSantiago Calatrava

1989-1992

Ronda de Circunvalación SE-30

Bus: 6, E5, C5

Originally proposed to be twin bridges with a connecting viaduct for the 1992 World’s Fair,the Alamillo was ultimately built as a single structure.

The Alamillo Bridge is both a roadway and a pedestrian walkway. The walkway is lifted up1.8 meters above the road, creating an efficient and comfortable way of travel. The deck ofthe bridge is constructed as a steel box beam, supported by steel girders every fourmeters along the bridge's length. Calatrava, both architect and engineer, developed aninnovative way of stabilizing the structure, allowing the pylon to counterbalance the deck,thereby substituting one of the stay cables with an angled pylon.

Estadio Olímpico de SevillaCruz y Ortiz

1999

41970 Santiponce (Isla de la Cartuja)

Bus: C2 or C1

Estadio de la Cartuja, commonly known as Estadio Olímpico de Sevilla, was completed in1999, in time for the World Championships in Athletics. It can seat 57,619 spectators andhas hosted various sporting events and concerts, although it has never actually been thesite of any Olympic games.

At the southern end of the stadium, the upper deck is replaced by a glass facade providinga view of the city. The awning is pierced by a large oval creating a shadow that affects allsporting events with different intensities. These two elements couple to make the sportinga spectacle without losing sight of its urban location.

SEV

The new headquarters of the state library is located on the previous grounds of the Ibero-American Exposition and was commissioned by the Directorate General for Books,Archives and Libraries of the Ministry of Culture. The building occupies the center of thesite because it is unique and therefore isolated from the surrounding buildings.

The library focuses on its own interior composition with a setback from the street andsubsequent covering of trees. The building collapses in upon itself creating a southernpatio that allows for views that cross to create a unity among the four wings that define thelibrary. The facades reflect the internal development and are modulated with large holesallowing natural light and views. The building is divided into 3 areas consisting of themain central connection, the adult "L" section, and the southern children's section.

Infanta Elena LibraryCruz y Ortiz

1995-1999

Avenida de Maria Luisa, 8

Bus: 6, 34, 41, C1, C2Tram: Prado de San Sebastián - T1Metro: Prado de San Sebastián - L1

Observations: Backpacks/purses must be left atentrance counter.

SEV

Doña María Coronel 26 HousingCruz y Ortiz

1974-1976

Calle Doña María Coronel 26

Bus: 10, 11, 12, 15, 20 , 24, 27

Observations: Closed to public.

The building contains twelve apartments of about 100 square meters each. The prevailingregulations stipulated that 25% of the site must be left free of construction, in order toreduce population density in the old city center at that time.

The project concentrated on the unconstructed space as a courtyard. To solve the geomet-rical problems the site posed, the resultant courtyard was shaped like a kidney. It providesa focal point that diverted attention from the many different buildings behind. The court-yard is also a key element to the organization of the entire building, marking off the areasto be occupied by housing as well as positioning the stairways.

SEV

The project was designed by Cruz y Ortiz to integrate and compliment the old 17th centurybarracks on the site with the new building on the adjacent site. Completed in 1995, thebuilding combines stone, timber and glass (of similar color) and follows a neoclassicalpattern. The ground plan was conceived by a shift achieved by the courtyard enclosurewall and the old barracks. The structural system appears to be made up of stone coatedpanels but the real structural mechanisms are hidden behind it.

Diputación Provincial de SevillaCruz y Ortiz

1991-1995

Avda. Menéndez y Pelayo 32

Bus: C4, C3, 121Metro: Prado de San Sebastián - L1

Previsión EspañolaRafael Moneo

1982-1987

Paseo de Colón 26

Bus: C4, B2Metro: Puerta de Jerez - L1

Built for La Previsión Española Insurance Company, this building blends into the architec-ture of Seville through its materiality and its ambiguous scale.

The project uses the remains of the wall that joined the Torre del Oro to the walls ofSevilla. It enriches the ruins of the walls by being able to enter from two passages onCalle Almirante Lobo and on Paseo de Colón.

SEV

Recetas UrbanasSantiago Cirugeda

1996-present

Various locations

Santiago Cirugeda is a Sevillian architect/urban activist who has proposed "alegal" solu-tions to developing the urban scene in Spain. By navigating around building restrictions,Cirugeda has been able to invent ways to place his designs within a developed urbanenvironment. The general concept of his collective project is to revive a city by occupyingits empty lots, as well as roof-tops, thus creating dispersed and impermanent fixes to oth-erwise unused areas. The project is known as Recetas Urbanas, or "urban prescriptions."Each home comes with assembly instructions and a material list, much like an IKEA furni-ture kit. Begun while Cirugeda was still in school, the project revitalized run-down dis-tricts of Seville. Unoccupied land could be temporarily utilized with the presence of abuilding permit with the exception that no part of the structure would be fixed to the pre-existing site.

One example of this work is the Puzzle House, which can be reconfigured according to itssite. Over 20 similar homes exist, and can be manufactured, released, and built in a shortperiod of time requiring minimal funding. The people meant to rent these properties havethe option of actively helping in the construction process with the intention of loweringtheir costs as well as dignifying their property. The units are meant to be inhabitable forno less than four months and up to a year. The issue of electrical connections that arisesfrom the lack of structural attachment to the site can be resolved with a temporary branchof the neighboring houses' utilities (with the approval of the owner). The units are sup-ported by a steel structure, aluminum-polythene coating, scaffolding material, aluminumframing, galvanized steel sheets, and recycled public fencing, thus making them light-weight yet stable and easy to assemble. The term "urban prescriptions" is very fitting dueto the fact that each home is prearranged yet viable for many different environments. Thisproject is smart and innovative in the regard that Cirugeda is building off of buildings andpre-developed land. Not only has he managed to utilize the ever-shrinking space withingrowing cities, he has done so with economy in mind. This project acts upon the currenteconomic situation and highlights the space and hidden opportunity present within eachparticipating city.

SEV

This project was the winner of a 2004 competition to transform the Plaza de laEncarnacion into a new contemporary urban center. Visualized as an inspiring commercialcenter where contemporary urban commerce and tourism are seated side by side with thetown's ancient archaeological remains, the Metropol Parasol is intended to revitalize anoutdated area of the city and bring new attention to the historic area. The plaza itself datesfrom ancient Roman times with the discovery of a Roman colony hidden under layers ofEarth which where dug up in the 90s. The design draws from this finding by incorporatingan archeological feel to the site with the installation of its large mushroom structure aboveground. The fluid-like feel of the designs are also inspired by the city of Seville itself - itsvaulted church interiors, Moorish ornament, and the large sprawling trees that cover thecity.

Metropol ParasolJurgen Mayer Architects

2010 (estimated completion)

Plaza de la Encarnación

Abengoa Technological CampusRSH+P & Vidal y Asociados Arquitectos

2009

41012 SE-30 Ring Road

Only accessible via car

Abengoa's new campus rethinks the way a business park functions both socially and prac-tically. Abengoa, an international technology company with a focus on sustainability,applies much of its sustainability knowledge to its new campus, in everything from theorientation of the campus to the selection of materials. The design of the individual build-ings and their arrangement on the site maximizes self-shading and photovoltaic panels,hydrogen batteries, and a tri-generation plant are just a few of the sustainable additions tothe campus. Everything is suited to protect from and harness the energy provided by theintense summer conditions in the south of Spain. All of these sustainable functions earnedthe campus the LEED Platinum award. The colors in the buildings are a nod to the glazedtiles traditionally found in the Andalucia region and the layers of screens and glass on thefacade work to maximize light while reducing glare and heat.

MER

MERIDA The small city of Mérida, capital of the Extremadura region, was founded in 25BC by theRoman Emperor Augustus. He named the city Emerita Augusta, after the discharged(emeritus) soldiers of his army, who set up a strategic outpost to monitor the GuadianaRiver.

This outpost would become the capital of the Roman Province of Lusitania, encompassingmuch of present-day Portugal, and one of the most important cities of the Roman Empire.The monuments of this great city remain -- 20 Roman ruins dot the city, and the groupwas designated a UNESCO site. The new city of Mérida, meanwhile, has redefined itself asa regional capital, complete with the prerequisite Palacio de Congresos and SantiagoCalatrava bridge, taking steps to attract tourism and investment.

PROJECT LISTNational Museum of Roman Art Rafael MoneoRoman Amphiteatre and AqueductPalacio de Congresos de Mérida Sobejano y NietoLusitania Bridge Santiago Calatrava

City Population: 55,600

LUSITANIA BRIDGE

AV. REINA SOFIA

CALLE ALMENDRALEJO

CALLE STA. E

ULALIAPASEO DE ROMA

MER

National Museum of Roman ArtRafael Moneo:

1980-85

C/ José Ramón Mélida s/n

Moneo’s National Museum of Roman Art is perhaps one of the most important works ofthe last 50 years: completed just as historicist post-modernism was reaching full bloom,Moneo’s museum uses classical antiquity not as a system of ornamental appliqué or as asource of language, but rather as a system of constructive logic, of proportion, and ofmute strength.

The Rome that Moneo evokes here is that of the now-naked aqueducts, of the infrastruc-tural Rome shorn of its stone and its references to Greek antiquity; this is the Rome ofmonumental feats of engineering.

Moneo creates a Roman warehouse for the display of Roman artifacts, a building that is atonce monumental, making literal reference to the culture it honors and displays, whilenevertheless adapting to the adjacent neighborhood.

At once modern and archaic, monumental and modest, abstract and literal. Moneo’sNational Museum of Roman art is a haunting building, one that defies easy categorization.

MER

Roman Amphitheatre and AqueductAmphitheatre - 15 BCAqueduct - 1st century AD

Observations: Mérida preserves more Romanruins than any other city in Spain.

These structures were built quickly after the founding of Mérida by the Romans in 25 BC.The aqueduct was once 5 km (3 mi) long, but only an 830 m (2700 ft) stretch remainstoday, while the amphitheatre is still used for the Festival of Mérida every summer.

MER

The Mérida auditorium and Conference Center is set on the west bank of the GuadianaRiver between a bridge by Santiago Calatrava and a railway bridge. Its exterior is charac-terized by the continuity of stone-like material, which is modern in its construction butstill suggestive of the old Roman walls that exist in Mérida. The Conference Centre is seenas a monolithic piece that shapes a large elevated platform overlooking the city, which liesacross the river. This terrace is a link between the two auditoria, which are the most char-acteristic features of the building. The building is used for music, theatre and opera, aswell as an exhibition pavilion. The main auditorium for 1,000 spectators is rectangular inplan. An incline forms the seating area, with access from both the exterior platform andalso from street level. The acoustic aspects were thought through with extreme detail, fromthe geometry of spaces to materiality, like the ceiling, with its zinc-clad wooden panels.

Palacio de Congresos de MéridaSobejano y Nieto

2004

Avenida Del Río S/N

Lusitania Bridge1988/1991

Calle Oviedo 12

Like Most Calatrava bridges, this bridge presents a four-level structural hierarchy. Thedead and live loads on the roadways are transferred to 23 pairs of steel cables, which aretransferred to the truss-like arch, which continues through its reinforced concrete piersand finally to the abutments. The 189 m span by 465 m length bridge lies between the tworoadways, supporting them centrally; the weight of the dual roadways balances the struc-ture. The 32 m deep arch features a cathedral-like walkway lying along the central supportgirder and above the traffic lanes for an unobstructed view over the Guadiana River to theadjacent Roman Bridge. The Lusitania Bridge was designed to supplement a 2000-year-old Roman bridge, the La Akazaba. The La Akazaba had been relegated to foot traffic only,so a new bridge was needed to handle both motor & foot traffic

LIS

LISBOA There is an unmistakable melancholy in Lisbon. This 3000-year-old city, ruled succes-sively by Celts, Phoenicians, Greeks, Romans, Visigoths, North African Muslims, and, fora time, the Spanish, is a place at once connected to distant territories and colonies, andseemingly removed from it all. In the plaintive, mourning sound of fado, or in the gently,and photogenically, crumbling facades of its tile covered blocks, Lisbon shows the fadedtraces of its imperial past.

Rebuilt after the catastrophic earthquake of 1755 by Prime Minister Marquis de Pombal,Lisbon was the model of the Enlightenment city: the grided streets of the Baixa led to themonumental Praça do Comércio, which in turn led to the Tagus River and the Atlantic, andto Portugal’s colonial possessions, beyond.

Although Lisbon is today a dynamic cultural and business center, and, after Madrid andBarcelona, the third largest metropolitan area in the Iberian Peninsula, it remains a city offaded beauty and past glory.

The Portuguese word saudade is can not be directly translated into English. A mix of nos-talgia, longing, and lost love, saudade might well be the Portuguese national emotion, andLisbon, as the nation’s capital, is its spiritual home.

PROJECT LISTChiado Housing Álvaro SizaBaixa-Chiado Metro Station Álvaro SizaExpo 98 Grounds VariousPortugal Pavillion Álvaro SizaEstaçao do Oriente Santiago Calatrava


BAIXA

CHIADO

BAIRRO ALTO

ALFAMAAV. DE LIBERDADE

AV. DA RIBEIRA DAS NAUS

AV. A

LMIR

ANTE

REI

S

LIS

Chiado HousingÁlvaro Siza

1988

Metro: Baixa-Chiado - Blue Line/Green Line

Siza’s reconstruction of the Chiado quarter after a catastrophic fire is, initially at least,invisible. Siza restored the existing facades, and maintained the scale of the neighborhoodand its architectural language. Only when one begins to occupy the new, surgicallyimplanted plazas does one begin to notice Siza’s sensitive work.

Baixa-Chiado Metro StationÁlvaro Siza

1998

Rua do Crucifixo 76

Metro: Baixa-Chiado - Blue Line/Green Line

Metro Station Baixa-Chiado is the one of the most crowded and intensive transfer stationsof the city. The station serves the Baixa and Chiado districts and is the most important ofthe entire Metro network in Lisbon. This Metro Station was designed by architect ÁlvaroSiza Vieira and painter Angelo de Sousa. The Station is located 45 meters under theground surface. An entrance of the station is located in the city center, Baixa, as well asone at a much higher lever in the Chiado district. These two entrances are linked by aseries of escalators and passages. The interior of the station was designed with multiplenumber of round tunnels that are covered with small white tiles and gilded walls and ceil-ings.

LIS

The planning of the 1998 Lisbon World Exposition (EXPO '98) was led by Portuguesearchitects Antonio Taurino Mega Ferreira and Vasco Graca Moura and sponsored by TheBureau of International Expositions, commemorating the 500th Anniversary of Vasco daGama's sea expedition arrival in India in 1498. Lisbon's efforts to change the city’s andcountry’s image from isolation to integration with Europe started in May of 1987 by join-ing the European Economic Community. EXPO 98 followed a less-successful exposition in1994.

Learning from the failures of Seville's '92 Expo, Lisbon pre-sold the structures built forthe fair to ensure that the Expo zone would be used after the conclusion of the event. Thefair's theme, "The Oceans, a Heritage for the Future," promoted architecture that revolvedaround oceanic topics. Such architecture included a included the Portuguese Pavilion byAlvaro Siza, a centralized Oceanarium by Peter Chermayeff, a 10,000 seat multipurposeauditorium by Regino Cruz and SOM. The Gare do Oriente, a multi-modal terminal bySantiago Calatrava, provided access to the site through train and bus, connecting the siteto a new metro line and Europe's new longest bridge, the Vasco de Gama, spanning 17.2km across the Tagus River.

Besides the successful 10,128,204 person attendance in the 132 days of operation, theEXPO '98 also fulfilled the planners’ dream of bettering the city. All major pavilions wereconverted for use after the fair’s close, leaving behind a thriving area where 25,000 localsreside, multinational corporations locate their headquarters, and 18 million tourists visitannually to enjoy the gardens, museums, and commercial area.

Expo 98ç

Antonio Taurino Mega Ferreira, Vasco GracaMoura, Alvaro Siza, Peter Chermayeff, ReginoCruz, SOM, Santiago Calatrava, and others.

1998

Metro: Oriente - Red Line Bus: 5, 25, 28, 44, 208, 708, 759, 782

LIS

Portugal PavillionÁlvaro Siza

1998


Designed as the host country pavilion for the 1998 EXPO, this building is separated intotwo distinct areas: the first was a programmed block which was to include an exhibitionarea, restaurants, and guest receptions. The other area was to be an opened but coveredarea, acting as a plaza. The covered plaza is sheltered by a hanging slab that spans 65meters. This extremely thin reinforced concrete slab dips as it crosses the plaza. The sheersize of the span and the thinness of the slab create a true spectacle.

LIS

Calatrava's Estaçao do Oriente, also known as the Gare do Oriente, is one of the majortransportation hubs in Lisbon, Portugal. It was completed in 1998 in order to accommo-date visitors of the EXPO '98. In addition to containing a shopping center, the multifacetedstructure also centralizes transportation by housing a bus station, train station, metro sta-tion, and a parking lot. These programs are layered below an expressive steel and glasstrainshed. Estaçao do Oriente's mix of neo-gothic, biomorphic, and vegetal forms havemade the building a landmark.

Estaçao do OrienteSantiago Calatrava

1998


POR

PORTO Architects travel to Porto to see Siza and Koolhaas. The rest of the world goes for the Port.

Tucked into and around the Douro River valley, Porto has long been linked to GreatBritain, not only for the exports of its sweet fortified wine, but also through politicalalliance and military resistance to Napoleon’s invading army.

The old city of Porto, perched above the river, is a decaying and achingly beautifulbaroque jumble. Though the region of Porto is a thriving economic zone, the city itself haslost nearly 100,000 inhabitants in the last thirty years, and it is in the crumbling historiccore where the loss is most acute.

Efforts are underway to rescue the old city, and Porto has recently inaugurated a light-railregional metro, and emblematic works of architecture like Koolhaas’s Casa da Musica, andSiza’s Serralves museum. Still, as one sits sipping Port, looking back onto the majesticbut forlorn core of Porto, one cannot help but wonder how much longer the neglected oldcity can hang on.

PROJECT LISTPorto Bridges Gustave EiffelMetro de Porto Eduardo Souto MouraCasa da Musica Rem Koolhaas/OMABoa Vista Towers Eduardo Souto MouraCasa de Cha Boa-Nova Álvaro SizaLeça Swimming Pools Álvaro SizaPorto School of Architecture Álvaro Siza


AV. DE BOA VISTA

RUA DA CONSTITUIÇÃO

AV. D

OS A

LIAD

OS

RUA DE GONZALO CRISTOVAO

POR

Porto BridgesGustave Eiffel

1877

Av. de Gustave Eiffel

Eiffel used innovative structural design techniques to build the Ponte Dona Maria Pia in1877. The 1,128ft span rises 197ft above the Douro River. Eiffel's revolutionary use ofiron enabled the then record-holding arched-bridge span to be constructed for 33% lessmoney than the next lowest competitor's entry. The bridge was originally used as a rail-road crossing to avoid a 7.5mile detour to a narrower part of the river. The graceful iron-work is reminiscent of Eiffel's well-known tower in Paris. His double-hinged crescentdesign allowed for the heavy loads of the railcars to be transferred to the foundationblocks along the riverbanks. The bridge operated until 1991 when it was replaced with anewer concrete bridge. It is the only bridge that crosses the Douro River that is not inuse.

Metro de PortoStations by Eduardo Souto Moura

2003

The Metro de Porto is the new electrically-powered light rail system built in Portugal'ssecond largest city. There are 78 stations with fifteen underground. The 5 main lines arelabeled with the letters "A" through "E" (also named by color) and reach six differentmunicipalities. The design of the station and system graphics is simple and elegant, oftencreating dramatic spaces through manipulation of light and perspective. In the under-ground stations especially, Souto Moura coordinates a play of light in the transitionalspace between street level and the underground station.

POR

Casa da Música began its design life as a house for a Dutchman. The client asked for adesign based on three of his neuroses: a hatred for clutter, uncertainty about the conditionof family, and fear of Y2K. To address the phobia of mess, Koolhaas proposed that theclient imagine the house as a container absorbing any amount of chaos. Individual spaceswould be excavated from the storage and their community would be a tunnel completelyfree of furniture, drilled through the form from end to end. To solve the Y2K phobia, theentire house stood on a disk that enabled it to rotate to particular views, moments, weath-er, etc. Although the client was enthusiastic, he was not completely convinced and tookback his initial verbal agreement.

Once the agreement fell through, Koolhaas realized there were only two weeks left to finishthe competition for a concert hall in Porto, Portugal. Struggling with the requirement of anacoustically perfect shoebox, Koolhaas realized the house designed for the Dutchman,enlarged, offered a new view; the family's tunnel could become the auditorium shoebox byremoving it rather than building it. The rest of the program was to follow. Koolhaas wantedto redefine the traditional relationship between concert hall and the public, where themajority knows only the exterior and only a minority knows what it's like to be inside.Casa da Música reveals its interior contents without being obvious by allowing the publicto use its space from night to day; not just night to night. The interior creates a maze forthe occupant to explore; creating time and experiences one may not have known hadexisted.

Casa da MúsicaRem Koolhaas/OMA

2004

Avenida da Boavista, 604-610

Metro: Casa da Música - Lines A, B, C, E

POR

Boa Vista TowersEduardo Souto Moura

Av. de Boa Vista

1998-2008

For this building, in development for nearly 10 years, architect Eduardo Souto de Mouramodified a Miesian style. The tower sits prominently along Porto's longest street, seemingto disrupt the otherwise flat landscape. Its deep grided exterior frame blocks the officesinside from the intense heat; on the face directly facing the sun, Souto Moura took theextruded grid that frames the windows, and flattened it against the face of the building,creating shade. On the opposite side, Souto de Moura dealt with the issue of the build-ing’s facade being nearly entirely in its own shade, creating difficult heating and coolingsituations. As a result, he chose to follow the same grid system implied elsewhere, andformed a ledge system that was both visually appealing and practical for maintaining theambient temperature within.

Casa de Cha Boa-NovaÁlvaro Siza

1963

Rua Cel. Helder Ribeiro, Matosinhos

Metro: Mercado - Line A

Observations: Open every day except Sunday

The Boa Nova Tea House was originally started by Portuguese architect Fernando Távora,who turned the project over to Álvaro Siza after picking a site on the cliffs. The building isnot far from where Siza grew up, making the setting for the restaurant incredibly familiar tothe architect. The architecture of the Boa Nova was the result of building up the land-scape, and through careful analysis of the rock formations, plant life, the sea, and theweather of the area. The secluded restaurant is removed from the main road about 300meters and is reached by a series of platforms, stairs, and a white stone path.

POR

Álvaro Siza's Leca Swimming Pools, or Piscinas das Mares, is a recreational complex forswimmers of all ages. The complex has an adult and children's swimming pool, changingfacilities, and a café.

Upon approach of the site, much of the complex is hidden from view. The architect leadsthe users down a wide ramp into the changing facilities. So far the shoreline has beenhidden from view by the large colored concrete walls that make up the walls of the com-plex. It is not until the user has exited the changing facilities that he/she is introduced tothe lake and the pools. The pools are wrapped not only by man made concrete ledges,but also by the existing rocks along the shore. The mounds of rock holding the water inthe pools create a faultless transition that blurs together the artificial and the natural.

Leça Swimming PoolsÁlvaro Siza

1966

On Avenida da Liberdade, just 15 minute walksouth of Siza's Boa Nova Tea House

Metro: Mercado - Line A

Porto School of ArchitectureÁlvaro Siza

1987-1994

Via Panorâmica 4150

Bus: 35, 36, 37, 78

The Faculty of Architecture rests on a terraced site bounded by a highway to the north andoverlooking the Douro River estuary to the south. The walled estate of the Quinta da Povoaand Carlos Ramos Pavilion form an eastern boundary to the site. The program, designedto serve 500 students, is organized in two wings of buildings forming a raised triangularcampus. The continuous forms of the northern wing shield the site from the adjacenthighway and include: administration spaces, auditoriums, a semi-circular exhibitiongallery, and a library. The four free-standing pavilions of the southern wing contain stu-dios and professors' offices on the ground floor. The positioning of these volumes createsvarying openings to the river and its southern view without disrupting the spatial densityof the triangular campus. These volumes vary in height and are unified at the base by alongitudinal gallery set three meters below the level of the central open space. The twowings of buildings converge to the west, forming the main entry to the complex.

SDC

SANTIAGO DE COMPOSTELA In 814, a Galician Bishop claimed to discover the bones of Saint James the Apostle, whohad travelled to Spain to spread the Christian faith. The bishop was, he said, guided by astar, to the field (campus stellae) of Saint James’s burial. Although the Vatican has neverconfirmed that the remains found in Santiago de Compostela are truly those of SaintJames, the city of Santiago has been for centuries, and is still today, one of the mostimportant pilgrimage sites in Europe, drawing about 100,000 pilgrims annually across theCamino de Santiago, or, Way of Saint James. This route, marked by the symbol of thescallop shell, makes Santiago a draw for religious pilgrims and tourists alike.

Santiago is also the political and cultural capital of the Spanish Autonomous Region ofGalicia, and is home to an important university. While Galicia has traditionally been one ofSpain’s poorer and more isolated regions, Santiago is well-preserved, elegant, and, thanksto the university, a surprisingly youthful and energetic city, still collecting its wealth fromthe pilgrims who continue to arrive, while also creating a distinctly Galician cultural iden-tity and a pride in that identity and the language that helps to form it.

PROJECT LISTCatedral de SantiagoCentro Galego de Arte Contemporaneo Álvaro SizaCidade da Cultura de Galicia Peter EisenmanSchool of Communications Álvaro SizaSGAE Central Office Antón García AbrilMusical Studies Center Antón García Abril: Ánxel Casal Public Library Andrés Perea

City Population: 94,300

RUA DAS HORTAS

AV. DE XOAN CARLOS I

RUA DA FONTE DE SAN ANTONIO

RUA

DA V

IRXE

DE

CERC

A

RUA DAS RODAS

RUA

DO V

ILAR

SDC

Catedral de Santiago"Bernard the elder" (head architect), RobertusGalperinus, "Bernard the younger”

1075-1128 (expanded/embellished between1500s-1700s)

Praza do Obradoiro 15705

The Cathedral of Santiago de Compostela is said to be built on the burial place of SaintJames the Apostle. Originally, the burial site (first discovered in 819) that now houses theCathedral was occupied by an earlier church, which burned down in 997. Alfonso VI ofCastile then commissioned the building of the Cathedral in 1075 with the patronage ofbishop Diego Pelaez. The Cathedral has become one of the most important pilgrimage forChristians, who upon their arrival will kiss a golden mollusk shell, which sits above thealtar.

The Cathedral is composed primarily of granite and was built using the same plan as thechurch of Saint Sernin's Basilica in Toulouse, France. The current baroque facade of theCathedral has been subject to changes throughout the years, while the interior remainsRomanesque.

Across from the plaza is the Pazo de Raxoi, the town hall, as well as several other impor-tant city buildings.

SDC

Centro Galego de Arte ContemporáneoÁlvaro Siza

1988-1993

Rúa Valle Inclán s/n

The Galician Center for Contemporary Art is a space for cultural exhibitions. Created in1993, this center is a product of the politics of post-1980s Spain, which promoted thedevelopment of cultural platforms; this project was part of an effort to re-introduce the iso-lated and traditionally poor region of Galicia into the international artistic circuit.

The Centro Galego de Arte Contemporáneo is located in one of the most evocative andsymbolic areas of Santiago's monumental zone: at the limits of the old town, beside thegate through which the pilgrims' route known as the French Way enters the city. Stretchingout behind the CGAC are the Convent's grounds, recently restored as a public park, main-taining the original paths and a number of archaeological remains.

Siza's building reflects a deeply personal vision of architecture and space. Line, light andvolume combine to produce an architecture that is both austere and serene. Stone is used,linking with tradition and setting up a dialogue with the surrounding buildings, in anexpression of respect for the sense of history that pervades Santiago. The building centerson a single long axis, its inner spaces opening out along this axis like the leaves of a fan.Externally, it is bounded by high walls; yet the inside is flooded with light. The mainentrance hall leads to the exhibition rooms, the auditorium and the library. The upper ter-race reveals the building's plan, and offers magnificent views of Santiago's old quarter,giving the visitor a clear insight into the architect's strategy for integrating the buildingwith its surroundings.

SDC

The Cidade da Cultura de Galicia was begun in 1999 and is designed by Peter Eisenman.It is located on Monte Gaiás, a small hill that overlooks Santiago de Compostela and isstill currently under construction. Starting in 2006, portions of the project will begin toopen in phases until its final completion in 2012. The overall project consists of sixbuildings that are split into three parts. These include the Museum of Galician Historyand the New Technologies center; the Music Theater and Central Services building; andthe Galician Library and Periodicals Archive. The design forms a man-made topographystanding in stark contrast to the medieval core of Santiago.

Cidade da Cultura de GaliciaPeter Eisenman:

1999-2012

School of CommunicationsÁlvaro Siza

1993-1999

Avenida de Castelao, s/n, Campus Norte

Bus: 5, 15, C2

The building is set within the new university zone. The main unit unfolds in an east-westdirection, respecting the south alignment of the Department of Languages. The nine class-rooms and the lecturers' offices are set in the tallest zone on the top floor. The lecturerooms have an amphitheater design, with ramp, stair and lift access. The radio and visualstudios are set on the level with the lowest height, along with the audio-visual laborato-ries. All areas are arranged along a north-facing gallery, with the main atrium between theclassrooms and audiovisual rooms. The library, entered from the atrium duplex, has acentral location. Its volume defines the broad entrance portico.

SDC

Musical Studies CenterAntón García Abril

2002

Rúa das Salvadas, 2

Bus: 4

The Musical Studies Center lies within the Vista Alegre park in Santiago de Compostela,an important green space near the old quarter. It is surrounded by other buildings of aca-demia and research, as well as beautiful landscape. The building is committed to musicalpostgraduate studies, specifically for Galician Orchestra musicians to train.

Large slabs of drilled granite form the façade, expressing a weight drawn from ancientEgypt and Rome. The interiors were dictated by the program, as music demands certainmaterials and geometries be used. The neighboring pavilion by Portela drove the design,being constructed at a similar size and of the same materials. The building is meant to beviewed at different scales, each one lending itself to a different level of understanding.When first approaching, the building seems to simply spring up out of nowhere and sit ontop of the grass. Getting closer, bands appear and the edges start to deform. The cube isno longer perfect. Up close, the form is completely broken; the roughness of the granite isexpressed and the openings that are the windows become defined through an understand-ing of light and shadow. The interior of the building starts to be comprehended throughthe placement and shape of the openings.

Though the shape is simple, the Musical Studies Center becomes complex when thescale, materials, and quality of construction come together synergistically. Spatial andmaterial interests are brought about through the combination of harmony and distortion,though both are spatial conditions. The granite surfaces come from the outside and con-figure the interior space to develop architectonic concepts. The project is strongly linkedto Galician architecture, and when considering the atmosphere and cultural idiosyncrasiesof the area, the project evokes the memory of the place, giving the feel of having alwaysbeen there.

SDC

This project was designed for the Sociedad General de Autores y Editores to accommodateauthors and publishers, as well as the public. There are four main areas of function: diffu-sion, formation, public area, and management. There is garden and street access, and thebuilding itself forms a wall on the property through its location layout. The buildingbounds the Vista Alegre property, and joins multiple other educational buildings on site.

Materiality is of great importance in this project, and can be seen at many different scales.The eastern wall of giant, stacked stone slabs gives views into the garden, a translucentglass wall faces the street, and a wall of CDs divides the interior. These act as filters of thesituations and organize the program functionally. The stone wall allows the site to perme-ate the building through gaps that form from the construction of prehistoric patterns. Thiscauses a dissolving of the building and a connection to the surroundings

SGAE HeadquartersAntón García Abril

2002

Rúa das Salvadas, 2

Bus: 4

Anxel Casal Public LibraryAndrés Perea

2009

The idea of the architect was to create a comfortable and functional building. He achievedthis by using an open floor plan allowing easy access to the various areas of the library.He also used a large glass curtain wall to imitate the local landscape. This imitation of thesurrounding landscape was intended to reduce the impact the building has on the town.This glass wall contrasts with the heavy grey concrete walls on the interior of the building.While the building is mostly a soft grey color, it is contrasted by colorful furniturethroughout.

LEON

LEON León, today a provinical capital, was once an important Roman settlement, and was laterthe capital of the independent kingdom of León. Signs of its former splendor remain in thewell-conserved historic core, and in its 13th-century Gothic cathedral.

Recent works, like Mansilla and Tuñon´s MUSAC and Auditorio, have infused this citywith new civic monuments, making this small city in the meseta a virtual pilgrimage sitefor architects.

PROJECT LISTAuditorio Ciudad de León Mansilla y TuñonMUSAC Mansilla y TuñonTanatorio Municipal de Leon Jordi Badia and Josep Val


AV. DE PALENCIAAV. DE ORDOÑO II

GRAN VIA DE SAN MARCOS

AV. DE LOS REYES LEONESESAV. DE ÁLVARO LÓPEZ NUÑEZAV. DEL PADRE ISLA

CALLE ANCHA

LEON

Auditorio Ciudad de LeónMansilla y Tuñon

1994-2001

Av. Reyes Leoneses 4

Bus: 11,12, 13

This auditorium was commissioned as a result of a competition held in 1994. The site islocated in an area less than one mile from the city's historic center. The program consistedof designing a high-profile contemporary auditorium hall, a small administrative wingsand an exhibition area. Mansilla and Tuñon's scheme was the result of a careful evalua-tion of the complex requirements imposed by both program and site, while developing alogical system of construction in which materiality and the penetration of natural lighthave an important role in the production, perception, and definition of the space.

LEON

This project won the 2007 European Union Prize for Contemporary Architecture Mies vander Rohe Award.This contemporary art museum is a set of interconnected irregularly-shaped exhibition spaces. These spaces are created by manipulating a basic structural andplanning module. The façade is a grid of huge colored panels of glass that gives thisbuilding a striking appearance.

MUSACMansilla y Tuñon

2004

Av. Reyes Leoneses 24

Bus: 11,12, 13

LEON

Tanatorio Municipal de Leon is a morgue and a funeral home. The building itself is a sym-bolic representation of a tomb. It is almost entirely buried underground with only exteriorviews of the sky. The building is covered with water on the roof, which eflects the sky andsymbolically brings the havens from above into the building. The sky becomes an allegoryof death. ArchDaily states: "all that emerges from the water are five mysterious fingers insearch of light for prayer".

The entrance is concealed with a ramp that slowly descends underground creating thefeeling of procession of a person facing death. A marble slab on the inside suggests theweight and serenity of the building. Subtle light from the sky creates the connection of theplace to above.

The building is constructed entirely out of concrete as the most suitable material for atomb. Details of black are present throughout the building that signify mourning of thevisitors.

Tanatorio Municipal de LeonJordi Badia and Josep Val

2000

Avenida Peregrinos, 14

BUR

BURGOS Burgos is a small, charming city where the people still go out for pinchos to meet theirneighbors and friends without even having to make plans.

The city is over 1000 years old. Pre-historic colonies have passed through the city,though the city was officially founded in 884 by the Count Diego Rodríguez Porcelos as acommission from King Alfonso III to create a fort protecting the surrounding territoriesfrom the Islamic invasions that had conquered most of the Iberian Peninsula.

The city has grown, developing its own identity as a provincial capital and as the secondlargest city of the Autonomous Community of Castilla y León. The city is home to one ofthe world’s most beautiful Gothic cathedrals, the Catedral de Santa María.

The old medieval stoned streets coexist with new, modern architecture, and the city hasbeen nominated to be the European Capital of Culture in 2016, an opportunity for proudburgaleses to show off their city.

PROJECT LISTCatedral de BurgosMuseum of Human Evolution Juan Navarro BaldewegCentro de Arte Caja de Burgos Arrieta, Escribano, Escribano, y Siaz

City Population: 178,000Metropolitan Area 193,000

AV. DEL CONDE GUADALHORCE

AV. DE PALENCIA

PASEO DE LA IS

LA

CALLE DE MADRID

PLAZA

MAYOR

CALL

E DE L

A PA

LOMA

BUR

Catedral de BurgosVarious Architects

13th-century to 16th-century

This grand gothic cathedral was begun during the rein of King Fernando III in the 13thcentury. The Burgos cathedral has undergone centuries of alterations. It is believed thatone of the first architects to work on Burgos was the Maestro Ricardo (1203-1226) fol-lowed by the French Maesto Enrique (1243-1260) who were in charge of building theapse and the nave respectively. The main body of the cathedral was accomplished withinthe 13th century.

In 1442 the Bishop Alonso de Cartageña was in charge of the project. Bishop Alfonsoelected Juan de Colonia to erect the architectural and sculptural works of the chapel.Succeeding Juan was his son Simon and Grandson Francisco. The west towers thatopened up into the bell chambers along with the spires were completed between 1442 and1458 .Simon completed the chapels of St. Anna and the Constable of Castile while hisson, Francisco, worked in the final major reconstruction of the collapsed central lanternin 1539.

Though the exterior is a relatively pure example of French-influenced Gothic, the interior,modified through the centuries, contains elements of the Baroque and Renaissance.

BUR

The Museum of Human Evolution is designed to be an excavation. One enters the build-ing at the top of a gradual slope that has risen from the river and eventually marries withthe interior. The slope is symbolic of entering into the earth as if to find our ancestors.The exterior is glass and aluminum panel clad, pierced to diffuse light in a patterninspired by the sections of terrain cut in a nearby excavation site. The interior has severalvolumes of activity and several small passages exhibiting information about excavationfurthering the concept of digging.

Museum of Human EvolutionJuan Navarro Baldeweg

2000-current

Calle del Conde de Vallellano

BUR

Centro de Arte Caja de BurgosArrieta, Escribano, Escribano, y Siaz

2003

Calle Saldaña s/n

The Centro de Arte Caja de Burgos, commonly known as the CAB, was built to becomethe city of Burgos' link to contemporary art. Designed by architects Arancha Arrieta, FélixEscribano, Santiago Escribano and Ignacio Saiz, the structure stands out within a city ofhistorical architectural significance. The museums location helps frame its primary goaland function: to link modern with historical. On the way to the CAB, one passes throughthe cultural district of Burgos including the Cathedral of St. Nicholas, the RetabloMuseum, as well as the Castle. Displaying over 400 works of art, the CAB is a good rep-resentation of the Spanish contemporary art world.

The building has three main volumes or "look outs" to the city. These volumes suggest adialogue with the surrounding area and seem to protrude from the hillside, reaching out tothe people of Burgos. The building has many exhibition rooms, all connected by gate-ways that offer interspersed views of the city, further connecting those inside the museumto their surroundings. Material used for the project includes mainly stone, concrete, andwood paneling used on the three "look outs" as well as in the interior. The building inte-grates many materials to create a relationship between the project and its diverse urbanenvironment. The opening of the museum proved to be a success, having over 40,000visitors within the first year. The CAB successfully combined the new with the old andbrought further cultural significance to the city of Burgos.

BBO

BILBAO / BILBO Those who talk of Frank Gehry and the “Bilbao Effect” tend to oversimplify things. Theeasy narrative is that Gehry’s effervescent Guggenheim Museum singlehandedly rescued adepressed backwater into a world city. The truth is that Bilbao was long an importantindustrial and financial center of the Basque Country, and that the Guggenheim was onlyone fragment in a much larger plan of urban regional transformation.

The Guggenheim sits in the middle of a redesigned riverfront, where new housing, a newopera house, a university library, and a tram line combine to create a powerful urbanensemble. The city of Bilbao itself, with its charming old quarter, is now linked togetherwith Norman Foster’s exquisitely detailed Metro stations.

The Bilbao Effect, as a mode of urban transformation, is real. Frank Gehry, however, isonly one piece of it.

PROJECT LISTMetro de Bilbao Norman FosterGuggenheim Bilbao Frank GehryEuskalduna Palacio de Congresos Soriano y PalaciosBarakaldo Soccer Stadium Eduardo Arroyo/NO.MADDeusto Library Rafael MoneoHeadquarters of the Basque Health Department Coll-Barreu Arquitectos


PASEO DE URIBITARTE

ALAM

EDA

CASCOVIEJO

ON DIEGO LOPEZ HAROKO KALE NAGUSIA

PASEO DE MAZARREDO

AUTONOMIA KALEA

AV. DE ABANDOIBARRA

BBO

Metro de BilbaoNorman Foster

1988-1995

The planning authorities focused on the design of the stations, their functionality, andconvenience of passengers even from the beginning of the project. Norman Foster washired to design and plan the underground stations, and was determined to combine archi-tecture and engineering in the process. In doing so, he and his team were commendedand awarded for the design of the Sarriko station. The street architecture of that particularstation was similar to other worm-shaped stations of the metro, with its large glass case,but it was in a more squared-off form. On top of that, it had a larger shell with a consistentuse of organized entrances.

With a total of 36 stations, 9 substations, moving walkways, lifts, and escalators, theBilbao Metro provides a high standard of service to its customers.

In their aim to ensure appropriate air quality in the stations, each station has a ventilationsystem of fans, filters, silencers, conduits under the platforms and gate-valves.

Foster created tall station caverns where the track, platforms and mezzanines are located,with access areas nearby. At street level, the glass and steel canopies (called “Fosteritos”by locals) recall the tunnels below ground as they emerge from the earth to announcemetro stations throughout the city.

BBO

The Bilbao Guggenheim Museum came out of collaboration between the Basque CountryAdministration and the Solomon R. Guggenheim Foundation as a first stage of the rede-velopment of the former trade and warehouse district. The Guggenheim asked Gehry toreconceive the notion of the art museum. The result, one of the most notable and mosttalked about buildings of the last 50 years, led in part to the reinvigoration of what hadbeen a somewhat decaying industrial city.

The titanium, glass and stone-clad building sits along the Nevión River, using the publicplaza at the entrance to encourage movement between the old city and the riverfront. Themain entry is a central atrium that connects the three floors of the building. The museumconsists of three collection spaces: square rooms housing the permanent collection,dynamic rectangular spaces housing the temporary collection, and 11 distinct galleries forthe collection of selected living artists. The public spaces are accessible from both theexterior and the museum proper and consist of a 300-seat auditorium, restaurant, andretail space.

Guggenheim BilbaoFrank Gehry

1991-1997

Avenida Abandoibarra, 2

Tram: GuggenheimMetro: Moyúa - L1, L2Bus: 1, 10, 13, 18, 27, 38, 48, 71

BBO

Euskalduna Palacio de CongresosFederico Soriano, Dolores Palacios

1994-1999

Av. de Abandoibarra, 4

Tram: EuskaldunaMetro: San Mamés - L1, L2

The Euskalduna Palacio de Congresos is a space with double uses: an opera house and aconference center. In order to provide separate accesses for different users, Soriano andPalacios designed the building with two interwoven lobbies, united by the shared emptyspaces, with platforms abutted at different levels.

Soriano and Palacios claimed the building has "no scale" and "no shape", as it is theresult of building a dense, compact section that contains all the required uses within itself.All spaces have been fitted together to fill the gaps and compose a volume that occupiesthe least possible surface area.

Barakaldo Soccer Stadium (Lasaessare)Eduardo Arroyo/NO.MAD

2003

Paseo El Ferrocarril s/n.

Tram: EuskaldunaMetro: Urbinaga - L2

The soccer stadium is located in Barakaldo, a suburb north of Bilbao. It is home toBarakaldo Football Club.

The building was modeled to simulate a forest through shadows and color variations thatare usually found in that environment. The exterior is clad in steel plates that verticallyoverlap to create allow natural light in that is similar to the foliage of trees.

BBO

Rafael Moneo's Jesuit University Library in Deusto is a monolithic, monochromatic build-ing located in a park just off the left bank of the Nervión River in Bilbao. Due to its prox-imity to the Deusto university campus and Frank Gehry's Guggenheim Museum, Moneoconsidered these two buildings when designing the library. Each has different roles and itis difficult to ignore the Guggenheim's overall important role but the library does establishits own public face while simultaneously maintaining continuity within the vicinity. Moneoused Seves glass bricks to cover over three quarters of the building, turning the library atnight into a beautiful lighthouse that is lit up from within. The seven-story library has over800,000 volumes, which includes more than 60,000 historic volumes printed between the16th and 19th century, and over one thousand tables on the three levels above groundwith views of the Guggenheim Museum and the Nervión River. There are three additionallevels below the ground floor which are used for storage.

Deusto LibraryRafael Moneo

2003-2008

Ramón Rubial 1

Tram: Guggenheim

The Basque health department headquarters was designed by Coll-Barreu Arquitectos -Juan Coll-Barreu and Daniel Gutierrez Zarza. It was completed in 2008 and is 9200sqm.The lot is located in the crossroad of two important streets in Bilbao, Licenciado Poza andAlameda Rekalde. The restricting city zoning rules forced the architects to repeat the verti-cal building typology shown on the rest of the block. The building has a double façadethat serves as fire-resistant and a acoustical insulation, while also allowing the building toeliminate an air conditioning system. This means there is no air recirculation whichincreases health conditions significantly within the building. The façade is a product of aninvestigation by Coll-Barreu, who consider the wrapper as a system. The investigation isbased on that a building must acknowledge the operation of the building, the energyexchange, and the city. Coll-Barreu use the elevation to combine these things in to onesystem. The wrapper creates a relationship between the actual building and the urbanspace surrounding the health department. The façade also protects the building from thecity. The façade creates a dynamic perspective of the city, producing images of its sur-roundings and distorting them to create an unusual view. The view of the city is alwaysdifferent, changing with the weather, time of day and season. The façade system alsoserves as corridors for the interior spaces creating a boundary between the city and interi-or space.

Basque Health Department HeadquartersColl-Barreu Arquitectos

2008

Corner of Licenciado Poza and Alameda Rekalde

Metro: Moyua - L1 and L2

BBO

SEB

SAN SEBASTIAN / DONOSTIA San Sebastián (Donostia in Euskera) is at once the cultural heart of the independence-minded Basque Country, and a distinctly continental beach resort town modeled on thenearby French city of Biarritz. This mix of proud Basque identity and bourgeois Frenchpretension, combined with the city’s breathtaking setting, and a local cuisine that is theenvy of Spain, makes San Sebastián one of the most beautiful and most beloved cities inall of Europe. It was, no doubt, this charm that in 1885 led Queen Regent Maria Cristinaofficially to move the Royal Court to this “Paris of the South” during the summer months,a custom that continued through the Franco dictatorship.

This city´s dense old quarter is skillfully integrated with the grided extension of the 1860s,with its broad boulevards, and neo-gothic cathedral. Moneo’s Kursaal, begrudginglyaccepted by Donostiarros, is only the latest inducement to visit a city of apparently effort-less elegance and natural beauty.

PROJECT LISTKursaal Rafael MoneoPeine de los Vientos Eduardo ChillidaChillida-Leku Museum Eduardo ChillidaReal Club Náutico Aizpurúa y Labayén


ASKATASUNAREM HIRIBIDEA

PASEO DE LA CONCHA

ALAMEDA DEL BOULEVARDAV. ZURRIOLA

C. MAYOR

SEB

KursaalRafael Moneo

1999

Av. Zurriola s/n

Moneo's design addresses the site’s "geographical accidents." In San Sebastián, theCantabrian Sea enters La Concha Harbor and produces accidents of geography; beaches,islands, bays, and hills. Moneo refused to design a building that violated the natural land-scape and presence of the river. Moneo designed Kursaal as two separate volumes stand-ing at the mouth of the river as if they were gigantic rocks. To celebrate the idea of geo-graphic accident, he inclined each prism three degrees on the vertical towards the sea andMount Ulia and Mount Urgull beyond. Each prism contains an auditorium placed asym-metrically within it as to destroy pure form and create fragile composition. The exteriorcurtain walls are made from curved laminated glass within an aluminum structure whichprovides changes in appearance of the volumes from day to night.

SEB

Peine de los VientosEduardo Chillida

1977

Playa de Ondarreta : Avenida Satrustegi 8

At the end of Ondarreta Beach, below MonteIgeldo

Eduardo Chillida designed this series of three huge steel monuments that are anchored torocks surrounded by the ocean. This space provides a great example of balance betweensculpture and landscape. Eduardo Chillida is considered one of the Basque Country'smost accomplished artists. This display reveals the artistic path he took in search of thereal. His search, which he carried out by testing a wide variety of materials, led him to adesire for understanding, and brought about some of his most distinguished works of artin the process. Chillida's philosophy is that art attains greater strength through a greaterfocus during the creation process.

SEB

One day I dreamt of a utopia: finding a space where my sculptures could rest and wherepeople could walk among them as if walking through the woods. -Eduardo Chillida

Chillida-Leku is the culmination of one of Chillida's lifelong dreams: to create a space forhis work where it could be on permanent display. The museum is divided into four areas:A 30 acre hillside with beech trees, oaks and magnolias studded with over 40 sculptures;a service area featuring an auditorium, with images of the artist at work; a rest area; and agift shop. Lastly, the centerpiece of the museum is the Zabalaga farmhouse, which housessmaller format pieces in Cor-Ten steel, alabaster, granite, terracotta, plaster, wood andpaper.

Chillida has created a space for dialogue between the arts. Chillida's sculpture garden, or,

Chillida-Leku MuseumEduardo Chillida

2000

Jauregi Bailara, 066; 20120 Hernani

Bus: Autobuses Garayar: Bus G2 departs everyhalf hour from Calle Okendo in San SebastianPedestrian access.

Bus stop/Museum entrance is on the other side ofthe highway; there is an underground pedestrianpassageway.

Real Club NáuticoAizpurúa y Labayén

1928-29

Paseo de la Concha

The Real Club Náutico de San Sebastián, which was founded in 1896, is located in one ofthe most beautiful cities in Europe, San Sebastián. The social building of the Royal YachtClub of St. Sebastian was built in 1928-1929 and was designed by architects JoséManuel Aizpurua and Joaquin Labayén. The building is today is considered a jewel of1920s rationalism, and was featured in Henry Russell Hitchcock and Philip Johnson´sinfluential “International Style” Exhibition at the Museum of Modern Art in 1932 .

The building is heavily inspired by ships and yachts. The stairways, terraces, parasols andwindows provide all elements of a ship docked in the port, with layers of wrap-around ter-races that recall a ship’s decks.

PPA

PAMPLONA / IRUÑA Long-prized for its strategic military value, Pamplona is the capital of the AutonomousRegion of Navarra, and was previously the capital of the independent Kingdom of Navarra.Its vital military role condensed the city center behind fortified walls, many of whichremain; the city was slow to demolish these bulwarks, and a dense city emerged behindthem.

The city hosts the San Fermín festival, which includes the encierros, or, running of thebulls. It is curious that this festival, so intimately identified with Spain by the non-Spanish, should be hosted in a city that is still identified as the true capital of an expand-ed Basque Country, and for many years asserted its independence from Spain’s centralauthorities.

This tension seems, however, to have been resolved here; the city is a peaceful and pros-perous one, with one of the highest standards of living in Spain.

PROJECT LISTPlaza de Toros de Pamplona Rafael MoneoBaluarte Palacio de Congresos Patxi MangadoArchivo General de Navarra Rafael MoneoMuseo Oteiza Francisco Sáenz de OizaPalacio del Condestable Tabuenca & Leache Arquitectos


AV. DE LA BAJA NAVARRA

AV. DE CARLOS III

AV. SAN IGNACIO

AV. DEL EJERCITO

C. MAYOR

PPA

Plaza de Toros de PamplonaRafael Moneo

1967

Amaia Kalea s/n

Bus: 2, 3, 5

The original ring was designed in 1922 as a replacement of old bull ring on Carlos IIIAvenue. The extension of the Bullring was undertaken because of the increasing numberof visitors who come to see the San Fermín Festival. The original bullring could contain14,000 spectators and the extension added capacity for 6000 more. The architect, RafaelMoneo approached this project in two main terms, a concrete structure and a continuedreference to the original building, which itself referred to Renaissance architecture inSpain. For the project, it was also important to harmonize the original giant ring into thecity's image and the environment inside during the San Fermín Festival. Moneo extendedthe top tiers so the interior space would be continued within the limits, while minimizingany changes of the building’s exterior. The roof is a light metal, finished with glazedceramic pieces.

Baluarte Palacio de CongresosPatxi Mangado

2003

Plaza del Baluarte, s/n

Bus: 1, 4, 8, 9, 12, 13

Opened late in October of 2003, the Baluarte Palacio de Congresos serves Navarra as thecenter, literally and functionally, for all types of civic meetings and event needs. Funded bythe government of Navarra and designed by Patxi Mangado, a Navarra native, this civiccomplex sits on a site located on a transitional boundary between the modern city and itshistorical Renaissance stronghold. In efforts to emphasize the importance of the city'stransformation from the old to the new and a 'concern for urban scale,' Mangado clads thesleek volume with dark grey granite slabs from Zimbabwe and dresses its interior withbeech and tropical wood.

PPA

With origins in the twelfth century, the building known as El Archivo General de Navarrahas seen many different uses. With its most recent 2003 renovation designed by RafaelMoneo, it is currently, as the name implies, being used as a place to store governmentdocuments and as a consultation and public information outlet. Moneo's renovationincludes a restoration of the original, medieval building as well as a new, modern, andtechnological building perfectly suited for storing government documents. The new build-ing has a capacity for 44,000 meters of shelving and includes areas for things such as arestoration workshop, photography laboratories, assembly hall, and a specialized library.

Archivo General de NavarraRafael Moneo

2003

Calle Dos de Mayo, s/n

Museo OteizaFranciso Sáenz de Oiza

1996

NA-2373 Pamplona

Bus: Rio Irati, S.A. Bus station Avd. CondeOiveto, 6

The Museo Oteiza, built for showing the works of Jorge Oteiza, is a monolithic buildingthat goes against the typical. Instead of building a "sculpture to contain a sculpture", thearchitect built a simple yet stunning structure that helps to emphasize the artwork inside.The lighting conditions of the museum were based on completely contradicting those of achurch. Whereas a church focuses light on the alter space and nave, this museum focus-es the light on the side walls and leaves the central corridor darker and more mysterious.The gallery layout is based on the artist's research into the radical artistic realm. Histhoughts on emptiness and geometric spaces create what he calls a "spiritual and meta-physical" reaction to the main hall as it spreads out into the subordinate spaces.The main gallery is connected to the artist's original home. The older structure acts as hisworkshop where he produces pieces for the main gallery. The spaces blend harmonious-ly through a glazed gallery that connects the museum to the workshop. The new and oldbuildings blend seamlessly to form an integrated form.

PPA

PPA

Restoration began on the Renaissance Palacio del Condestable in 2008. Originally builtbetween 1550 and 1560 by Louis de Beaumont, IV Conde de lerin and Constable ofNavarre, it is the only existing example of civil architecture from the 16th century inPamplona. The original intent of the building was a palace and until its use as a civic cen-ter now, it has also served as a city hall as well as residential and commercial retail.

Recovering the original appearance of the building was the objective of the restoration butthe structure was difficult since years of reform had changed the exterior facades and inte-rior layout. The redistribution of the floors was recovered after the 19th century remodelusing the top floors as residences and the ground level as retail.

The square building is approximately 6,820 meters spread over the basement, groundlevel and three more floors above. Defined rooms included in the structure are the hall,which is 187 square meters, a medieval hall of 176 meters, three large rooms between214 and 250 square meters and various rooms for different activities. The main street isaccessed by a hallway after opening up into a courtyard with the main staircase on oneside and the rooms are located around this space.

The load bearing walls and original wooden structure was maintained and restored asmuch as possible with supplemental help from plywood boards at the existing joints. Allthe joints were made with pine wood pieces and did not use metal connectors or concreteto reinforce the beams so the wood used do not pay homage as decoration to the originaldesign but structurally support the building. The original courtyard patio was remadeusing cobblestones and the columns were redone. The side yard, used to access thebuilding by elevator, stair and other services, was recovered as an illuminated space byplacing skylights into the roof so light falls on all floors and continued use as a patio. Thebrick walls are covered with a coat of lime mortar externally and internally throughout thestructure including the distinct corner at Calle Mayor and Jarauta.

Most of the floor is of terra cotta, with the exception of the dance hall using laminatedflooring and the courtyard covered with paving stones. The radiant heating system willrun under the terracotta floor and all electrical circuits have been diverted to the perimeterof the rooms, some channels covered by pine planks reclaimed from the building itself.

The structure has been updated to provide the latest technology but it is hidden to showthe building's restored original look to feel like the 16th century palace.

Palacio del CondestableTabuenca & Leache Arquitectos

2008

Calle Mayor, 2

Bus 14

ZZA

ZARAGOZA Zaragoza is in the middle. Roughly 300 km from Madrid, Barcelona, Valencia, Bilbao, andToulouse, the city’s centrality has in the past made it an important trade hub, a role it isonce again assuming with the expansion of the Spanish high-speed rail system. Captial ofthe Autonomous Region of Aragón, Zaragoza was founded by the Romans, who called thecity Caesar Augusta. This name was in turn was modified to the Arabic Saraqusta, andconverted to its current Castillan name.

The evolution of the city´s name is, in a sense, a condensed history of the broad socialchanges on the Iberian Peninsula. And the latest reincarnation of Zaragoza, the moderniza-tion and spectacle assembled for the 2008 Expo, parallel earlier efforts in Barcelona,Seville and Bilbao.

PROJECT LISTBridge Pavillion Zaha HadidExpo Building Basilio TobiasSpain Pavillion Patxi MangadoPalacio de Congresos Sobejano y NietoLa Seo CathedralBasílica de Nuestra Señora del Pilar Ventura Rodríguez


AV. D

E CE

SAR

AUGU

STOC. CONDE DE ARANDA

EXPO 2008

C. DEL COSO

C. MAYOR

AV. D

E LA

INDE

PEND

ENCI

A

ZZA

Bridge PavilionZaha Hadid

2008

Bus: Line 48

The Zaragoza Bridge Pavilion was built as part of the Water and Sustainable DevelopmentExpo known as the Zaragoza Expo 2008.The bridge was built over the Ebro River as anentrance to the expo area and at the same time served as a multi-level exhibition area.Hadid chose an innovative sustainable material, fibreC (a glass fiber concrete), to envelopthe outer skin of the structure with 29,000 triangles in diverse grey nuances. The BridgePavilion is organized around 4 main elements Hadid calls "pods" that act as both structur-al elements as well as spatial enclosures to house exhibition space for the show. This sec-tion is projected diagonally across the shores of the Ebro River, resting on a small islandin the middle for reinforcement.

Each of the four pods intersects with the others to allow the weight of the bridge to be dis-tributed across four trusses and also to create exciting possibilities. Interiors becomecomplex spaces where visitors move from one pod to the next through small spaces thatacts as filters. These zones diffuse sound and sight from one exhibition space to the next,allowing a clear understanding of the content in each pod. The body of the buildingevolves from the extrusion of a diamond section along a slightly curved path.

The Expo Building is one of many structures built in Zaragoza for Expo 2008. The buildingis built on 3800 square meters and is composed of two perfectly prismatic volumes withglass facades that complement the other venues and structures in the exhibition. The five-floored building (with offices spread across four floors and one floor for receptions andevents) was used for administrative purposes for the Expo and also is the headquarters ofthe Secretary of the United Nations on the Water for Life Decade project. The walls aremade of two layers of glass for insulation and even the elevators have glass walls for moretransparency. The outer layer of the building is made of horizontal louvers that can beopened to let in air or light.

Spain PavillionPatxi Mangado

2008

Bus: Line 48

The Spain Pavilion, also part of Zaragoza’s Expo 2008,was designed to focus on renew-able energy, working as a step toward the future of sustainable design. Often referred to asthe "forest of Spain," the exhibition space serves as a reminder of the scarcity of naturalareas within the urban environment. Columns that compose the building’s facade work toevaporatively cool the space, while a large overhang shelters the building from the sum-mer sun, providing additional space for photovoltaic cells. The interior, sheltered from theheat, invites visitors to linger. Within the building's main exhibition space, Mangadoobscured the division between exhibits by using amorphous forms extending from the cel-ing down.

ZZA

Expo BuildingBasilio Tobias

2008

Bus: Line 48

ZZA

Palacio de Congresos de AragónSobejano y Nieto

2008

Avda. Palacio de Congresos, 1

Bus: Line 48

The profile of the convention center offers geometries that reflect the inner division of thedifferent spaces in the interior. This ascending and descending roof also allows for theexpressive presence of natural light within these spaces. The wave-like roof describes thefluid and continuous motion of the large interior space, which demonstrates the publiccharacter of the building.

La Seo Cathedralbegun 1140

Plaza de la Seo, s/n

Bus: Lines 35, 39

La Seo Cathedral, also known as la Catedral del Salvador, is located in the Plaza Pilar ofZaragoza, Spain. The Seo is a Roman Catholic cathedral that has been expanded and hasundergone many restorations since 1318. These expansions and additions have addedmany architectural styles including Gothic, Mudejar, Renaissance, and Baroque.La Seo is one of the two Cathedrals in Zaragoza, the other being the Basilica de NuestraSenora del Pilar.

La Seo has been and will continue to be the heart of the Roman Catholics in the city ofZaragoza. More than 12 million Euros have been spent on restauration of the buildingand that amount is expected to rise more in the future, as there is no sign of stopping therestoration and expansion processes of the building.

ZZA

The Basílica de Nuestra Señora del Pilar is no ordinary church, for the purpose that it wascreated is of great significance. Numerous churches and expansions have been built anddestroyed on this site over the years, though all of them stood for the same meaning. It issaid that circa 40 A.D., th Virgin Mary appeared to St. James in order to help him inspreading the gospel. Upon arrival, Mary requested St. James to build a church in thatspot in her honor and gave him a small wooden statue of herself and a column of jasperas evidence of her appearance. This chapel is meaningful because it is said to be the firstchurch dedicated to her as well as the last known vision of her before her Assumption.

The present Basílica de Nuestra Señora del Pilar is a Roman Catholic church in Baroquestyle, begun in 1681 by Charles II, King of Spain. Later in 1725, Ventura Rodríguez wascommissioned to transform the church with new additions of the eleven cupolas and fourtowers. The interior vaults and domes of the church were painted by the world renownedpainter, Francisco Goya.

Basílica de Nuestra Señora del PilarVentura Rodríguez

1681-1872

Plaza de Nuestra Señora del Pilar, 19

Bus: Lines 23, 27, 28, 29, 34, 36, 43, 35

BCN

BARCELONA Barcelona is a beautiful, privileged palimpsest. Its layers of history and the pride of itsinhabitants, has made this city one the most innovative and energetic European cities.

The first traces of Barcelona appear between the years 13 and 15 BC when the RomanEmpire established a military outpost, and later the colony of Julia Augusta Faventia PaternaBarcino at the top of the Mont Taber, a hill where the Romans traced the typical Cardus andDecumanus as an origin for a new village. Barcino, as it was commonly called, was just onemore village in the network of empire on the Iberian Peninsula, where the most importantRoman city was Tarraco, (now Tarragona). Because of its natural conditions and beauty, thecity grew quickly, developing an important harbor and as a consequence, increasing itsstrategic location within the Roman Empire. Today, Barcelona is the capital of Catalunya, oneof the autonomous communities that constitute Spain.

Barcelona is known worldwide for its architecture and its urban quality. The city itself is acompendium of ideas about the city, from the Roman Cardus and Decumanus through themedieval city, to the Cerdá Plan, which is an inescapable precedent in the study of cities. TheCerdá Plan is notable for its coherence and its comprehensive approach as an urban plan,but also as a container for a diverse, extraordinary display of architecture.

Ildefonso Cerdá proposed an extension of the medieval, walled city that represented an areasix times larger than the existing city. Through the construction and consolidation of theplan, Barcelona successfully sought the attention of the world, producing world exhibitionsas an excuse to develop certain parts of the city. In this way, the 1888 Great Exhibition devel-oped the area occupied by the old fort, now Parc de la Ciutadella, and in 1929, the ElectricalIndustries Exhibition reshaped the area around Montjuic. Besides the several architecturalworks of great value that emerged from these exhibitions (among them the German Pavilionof Ludwig Mies van der Rohe) these events extended the synergies of the urban grid.

But the story doesn't stop there. After years of political repression under Franco, in the1980's Barcelona emerged again as an example of urban transformation and architecture.

When the city was selected to host the 1992 Summer Olympic Games, Barcelona picked upthe unfinished Cerdá Plan to re-develop industrial areas and to recover the coastline for thecity. The master plan for the Olympics was just one more in a series of steps for a city thatcontinually reinvents itself.

In 2004, the city opened of the last leg of the Diagonal Avenue, finally extending this boule-vard to the the sea. At the end of the Diagonal, the city produced the Forum of Cultures2004, a modern version of the world expositions of the previous century. Once again, the cityproduced a new focus of attention and development in a city where you never seem to haveenough time.

Gaudeixi de la ciutat! (enjoy the city)

City Population: 1,615,900 Metropolitan Area: 3,161,000

PROJECT LIST

Parc Güell Antoni GaudíPalau Güell Antoni GaudíPalau de la Música Catalana Lluís Doménech i MontanerCasa Milá, Casa Batllo Antoni GaudíCasa Amatllet Josep Puig i CadafalchSagrada Familia Antoni GaudíHospital de Sant Pau Lluís Doménech i MontanerParc Guell Antoni GaudíCCCB Villaplana and PiñónMACBA Richard MeierMercado de Santa Caterina Enric Miralles and Benedetta TagliabueTorre Agbar Jean NouvelHotel Habitat Sky Dominique PerraultParc del Poblenou Jean NouvelParc Diagonal Mar Enric Miralles and Benedetta TagliabueIlla de la Llum Housing Lluís ClotetBarcelona Forum Herzog and deMeuronForum Solar Collector and Promenade Torres Tur and Martínez LapeñaBarcelona Pavilion Ludwig Mies van der RoheCaixa Forum Barcelona Arata IsozakiMuseu Nacional d'Art de Catalunya Gae Aulenti, conversionFundació Miró Josep Lluís SertPalau Sant Jordi Arata IsozakiOlympic Plaza and StadiumBarcelona Botanic Gardens Carlos Ferrater and Bet FiguerasMontjuic CemeteryIgualda Cemetery Enric Miralles and Carme PinósBarceloneta Housing Josep Antoni CoderchGas Natural Building Enric Miralles and Benedetta TagliabueFish Sculpture Frank GehryMapfre Tower Ortiz and LeónHotel Arts SOMCathedral of GironaAuditori de Girona Bosch/Tarrús/BoschWalden 2 Housing Ricardo BofillL'Illa Complex Rafael Moneo and Manuel de Sola-MoralesL'Auditori Rafael MoneoLibrary and Senior Center RCR ArchitectsCan Framis Art Center Jordi Badia: Mercabarna Flower Market Willy MüllerMedia Tic Enric Ruiz Geli - CLOUD 9

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Parc GuëllAntoni Gaudí

1900-14

Carrer d’Olot s/n, between carrer de Marianao andCarrer Larrard

Metro: Hospital Militar - L3Bus: 24 from Plaça de Catalunya

Observations: Parc Guëll is a protected UNESCO World Heritage Site

Antoni Gaudí was commissioned to design Parc Guëll by the Count Eusebi Guëll, an aris-tocrat of the industrialized Catalunya of the beginnings of the century.

Parc Guëll was conceived in its beginning as a private neighborhood for the elite ofBarcelona, a self sufficient property in one of the most beautiful parts of the city. Amongthe few constructions that we find in the park today, there is a house where Gaudi livedwith his family. The house was not his design, but the work of Francesc Berenguer iMestres, another Catalonian architect.

The park was bought by the City Council in 1923 to transform it into a public space forthe city.

The park has one of the most atonishing views of Barcelona from the mountains that sur-round the city and it is a recreation point not only for tourists but also for the neighbors ofthe Guinardo neighborhood where the Park is located.

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As many of his projects, the Palau Guëll was commissioned to Antoni Gaudi by EusebiGuëll i Bacigalupi and it was built in the heart of Barcelona.

The residence was a “complete work” where Gaudi designed from the building to the fur-niture, from the lighting to the grill work or the stained-glass windows. The building con-sist in six floors and due to the sophistication of the commission, Gaudi meticulouslywork with the best craftsmen and exquisite materials. This was the first project whereGaudi applied the technique of “trencadis”, cladding of the surfaces with broken and irreg-ular mosaics.

The house is organized around a central space which runs through all the floor and finishas a dome. This central space has a height of 17,50 mts (58ft. aprox) and from it the natu-ral light filters through apertures of different sizes.

Palau GuëllAntoni Gaudí

1886-88

Carrer Nou de la Rambla 3-5

Metro: Liceu - L3 Bus: 14, 59, and 91

Observations: Palau Guëll is a UNESCO World Heritage Site

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Casa Batlló Antoni Gaudí

1904-06

Passeig de Gràcia 43

Metro: Passeig de Gràcia - L2, L3 and L4 Bus 7, 16, 17, 22, 24, 28

Observations: The Casa Batlló is aUNESCO World Heritage Site

Commonly referred to as the House of Bones, Casa Batllo was commissioned by JosepBatllo i Casanovas to redesign his home, originally built from 1875-77.

He had planned to tear down the building and replace it, but the architect, Antoni Gaudí,convinced him to redesign the existing building.

The design was made to compliment the neighboring house, Casa Amatller, which hadjust been completed by architect Puig i Cadafalch in 1898. Josep Maria Jujol helped withthe ornamentation and colors. It is believed that the design of the roof is supposed torepresent St. George, patron saint of Catalunya, slaying a dragon. The dragon's spineappears on the central staircase inside of the building. The building is currently used as areception and banquet hall, in addition to being open to the public during the day. Andlike all tourist attractions, it has a gift shop.

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This apartment building, commissioned by Rosario Segimon and Pere Milà, is famous forits undulating stone masonry façade.

The apartments wrap around the corner façade and two interior, somewhat circular, court-yards. Despite the fact that it is situated on a corner lot, Gaudi wanted the building tohave one continuous façade, and for no side to take precedence over the other sides. Thebuilding is unique in that it employs no straight lines in its design; it also stands oncolumns with a parking garage underneath it.

Josep Maria Jujol helped with the design of the wrought iron balconies. The roof featuresa bench similar to the one that Gaudi designed for the Parc Guell. The very devout Gaudihad intended to place a statue of the Virgin Mary on top of the building, but the Milà fami-ly would not allow it.

This was the last building Antoni Gaudí designed before he began work on the SagradaFamilia Temple, which he would work on for the rest of his life. After his death, the Milàfamily got rid of the religious decorations on the inside and outside of the building. Todaythe building is still an apartment building, but the top floor and roof are open to the publicand function as a museum of Gaudi's work with guided tours available.

Casa Milà (also known as La Pedrera)

Antoni Gaudí

1906-1910


Metro: Passeig de Gràcia - L2, L3 and L4 Bus 7, 16, 17, 22, 24, 28

Observations: The Casa Batlló is aUNESCO World Heritage Site

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Palau de la Música CatalanaLluís Domènech i Montaner

1905-1908

Carrer Palau de la Música, 4-6

Metro: Urquinaona - L1 and 4 Bus: 17, 19, 40 and 45

Observations: The Palau de la Música is a UNESCO World Heritage Site

The design of the Palau is typical of Catalan modernisme, or, Art Nouveau, in that curvespredominate over straight lines, dynamic shapes are preferred over static forms, and richdecoration that emphasizes floral and other organic motifs is used extensively. In contrastto many other buildings built in the modernisme style, however, it must also be said thatthe design of the Palau is eminently rational. It pays strict attention to function and makesfull use of the most up-to-date materials and technologies available at the beginning ofthe 20th century.

The Palau de la Música Catalana, full of light and of colour, is also today, a cultural assetthat is open to the world, whose halls and areas host concerts of all genres and styles,cultural, social and business events, congresses, conferences, exhibitions, etc. For allthese reasons, the Palau de la Música Catalana remains is a point of reference in the cul-tural and social life of the city of Barcelona.

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Casa Amattler was originally built as a home for chocolatier Antoni Amattler. The house isapart of the Illa de la Discordia (block of discord), which is a group of 3 houses that areconsidered Barcelona's best examples of Modernisme (together with Casa Lleo-Moreraand Casa Batllo).

The entrance to Casa Amattler has a 0 on the ground, which marks the start of theEuropean route of Modernism.

The house was bought by Antoni Amatller to settle his family in the new, elegant Passeigde Gràcia, and he commisioned to Josep Puig i cadafalch the design of a new facadealong with the interiors.

The facade is influenced by religious Catalan Gothic and is primarily composed of ceramictiles and an iron balcony.

Josep Puig i Cadafalch designed several other buildings in Barcelona, including the Casade les Punxes and the Casa Terrades. He was exiled to Paris in 1936 due to the SpanishCivil war and never allowed back to Spain

Casa AmatllerJosep Puig i Cadafalch

1898 - 1900


Metro: Passeig de Gràcia - L2, 3 and 4 Bus: 7, 16, 17, 22, 24, 28

Observations: Privately owned; except for the ground floor, inaccessible to the public

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Temple Expiatori de la Sagrada FamíliaAntoni Gaudí

1882 - current

Carrer de Mallorca 401

Metro: Sagrada Família - L2 and 5 Bus: 19, 33, 34, 43, 44, 50, 51

The most famous of Antoni Gaudí's original works, the Expiatory Temple of the SagradaFamília was conceived to honor St. Joseph, the head of the Holy Family. In 1882, after theoriginal architect, Francesco de Paula del Villar, resigned from the job after one year andafter having built no more than a half perimeter wall, the head architect at the time handedthe project to the 31-year-old Gaudí, although he had completed only one previous com-mission. From 1883 until his death in 1926, Antonio Gaudí worked on the project, con-structing a sort of autobiography to be deciphered later,in the unfinished artifact, as theconstruction of the Sagrada Família unfolded in the generations that followed him.

The first portion of the Temple to be built was erected tall to encourage contributions.Further construction proceeded as the money allowed. Romanesque, Gothic, and Baroqueelements are all found on the Nativity Façade, the only one constructed during Gaudí'slife. Plaster casts directly composed from live subject studies were used by modernistasculptors of that time to create the 'scenographic' statuary telling the story of Jesus' birthon the eastern façade. The Passion Façade was completed between 1954 and 1977 on thewestern face by sculptor Joan Subirachs, who was licensed to work from a Gaudí drawingof 1917. The Glory Façade, which tells the story of Jesus' Ascension, was intentionally leftfor others to design, having been only partially modeled by Gaudí. The construction ofwalls and the 170 meter tower that enclosed the chapel and sacristy have yet to be under-taken. Computer-aided study of Gaudí's geometric designs is advancing the SagradaFamília towards an original construction, originally intended as an evolution of Gothicarchitecture through rationalized artistic plasticity of form. As the centuries pass, theSagrada Família carries on progressively thicker, taller and more complete.

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With donation from Pau Gil on January 15, 1902, the hospital entered its nearly thirtyyears of construction. It was directed by Lluís Domènech i Muntaner and was completedby his son in 1929.

There are 48 sections, all decorated with mosaics, sculptures and murals, separated bygardens and connected by underground tunnels. The reception area was decorated byartist and sculptor Pablo Gargallo. The hospital was fully functional by 1930. Additionalsections were completed over subsequent decades.

The Pabellón de la Merced area won a decorative arts award in 1980.

Hospital de Sant PauLluís Domènech i Montaner

1901 - 1930

Carrer de Sant Antoni Maria Claret 167

Metro: Hospital de Sant Pau - L5 Bus: 15, 19, 20, 45, 47, 50, 51, 117, 192, B22

Observations: The Hospital de Sant Pau is a UNESCO World Heritage Site

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Cementiri d’IgualadaEnric Miralles and Carme Pinós

1984-competition1985/94-completion

Carrer dels Paisos Baixos s/n; Igualada

Train: Igualada, FGC R6 from Plaça de Catalunya

Observations: When you get to Igualada, ask for the new cemetery (cementiri nou).

“The cemetery works as a place” -Enric Miralles

The Igualada Cemetery was product of a competition organized by the City of Igualada in1984. Enric Miralles and his former partner, Carme Pinós, were selected the winners of thecompetition.

The Cemetery is located on the edge of the city, in an industrial area, and its lines andcontours are extremely related to the topography of the site, fusing with its edges anddescending into the earth,a metaphor that Miralles and Pinós used to explain the proces-sion from life to death.

The entire project is a descent into the earth, a symbolic journey into the place of finalresting. As mourners come to visit their lost friends and relatives, they too descend intothe city of the dead.

Enric Miralles, who died in 2000 at the age of 45, is buried here.

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Previously known as the Southwest Cemetery, it was inaugurated in 1883 following aproject by Leandro Albareda.

Alhough the cemetery may look like a series of buildings with windows, inside each win-dow is one or more coffins. The cemetery was built in response to economic and popula-tion grown that the Poblenou Cemetery could not contain.

This cemetery was built because the newly powerful bourgeoisie wanted tombs that hadthe same standing as their homes. Of the 152,327 resting places, this cemetery containsmany of Barcelona's rich and celebrated, including Lluís Companys and his predecessoras President of Catalonia Francesc Macià, as well as artist Joan Miró, dancer CarmenAmaya and poet/priest Jacint Verdaguer.

Cementiri de MontjuicLeandro Albareda

1883

C/Mare de Deu del Port, 54-58

Bus: 38

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Barcelona PavillionLudwig Mies Van der Rohe

1929 original (demolished 1930)1986 rebuilt

Av. Marquès de Comillas, s/n

Metro: Espanya - L1 and 3 Bus 13 and 50 to Plaça d'Espanya

observations: Technically this building should be called the German Pavilion in Barcelona since it was constructedto represent that country at the

International Exposition of 1929.

Using horizontal and vertical planes, the interior spaces are loosely connected, seeminglywithout any order as if pausing for one moment in time where form is content. Tectonicsare disregarded. The walls, for example, do not carry any load, and give the impression ofbeing disorganized, touching each other "by chance." These apparently random walls areused to enforce diagonal views, and block axial views, making systematic comprehensionof space impossible.

As the flowing space is blurred, each interior is focused on a particular exterior. Sincethere is no real enclosure, the transitions between interior and exterior are gradual,changing the spatial density and limiting views within each space.

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Caixa Forum BarcelonaArata Isozaki, Josep Puig i Cadafalch

2002

Metro: Espanya - L1 and 3

The Caixa Forum is a museum built in and adjacent to an old, unused factory designed byJosep Puig i Cadafalch. Arata Isozaki designed the adaptation of Cadalfach’s factory and anew entrance to the existing building. He created a different environment along the mainstreet for the entrance to the Caixa Forum. An entrance court is clad in white travertine,with sleek benches and pool of water made with the same material to create uniformity.The forum is a 3000 sq m area distributed in 3 spaces. It also has an auditorium that canseat 350 people. There are permanent and temporary exhibits in different spaces. The newaddition seems to be inspired by Mies’s Barcelona Pavilion which is opposite the Forum.

Museu Nacional d'Art de Catalunya(MNAC) is museum that embraces all kinds of the art.It includes world's one of the most important and famous pieces of Catalan art fromRomanesque period.

The Palau Nacional home of the MNAC, is symbolic building of the 1929 InternationalExhibition and interior of the palace was remodeled by Italian Architect Gae Aulenti. Thebuilding is situated on Montjuic and the front steps of the museum provide a spectacularview of the city of Barcelona.

Museu Nacional d'Art de CatalunyaEnric Català and Pere Cendoya; 1929Renovation: Gae Aulenti1990

Parc de Montjuïc s/n


observations: Closed Mondays

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Fundació Joan MiróJosep Lluís Sert

1974

Parc de Montjuïc s/n

Metro: Espanya - L1 and 3Bus: 50, 55 and 193Funicular de Montjuïc

This hilltop museum, with its crenelated profile of skylights, was designed by Josep LluísSert, who had earlier designed a house and studio in Mallorca for his friend Joan Miró.Sert fled Spain and moved to the United States after the Spanish Civil War, where hewould become dean of the Harvard Graduate School of Design, and would establish asuccessful firm based in Boston.

Here, Sert returns to Catalunya, and the heaviness of his American work of the same peri-od is replaced with a crisp, gleaming Mediterranean architecture of white concrete and atraditional central courtyard. At the Fundació Miró, Sert would achieve one of his mostconvincing buildings: a locally sensitive and specific project that remains faithful to theunabashedly Modern (with a capital M) architecture to which he had dedicated his youth,and for which he ultimately found himself forced to renounce his Catalonian home.

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The Palau Sant Jordi is a sports complex designed by Japanese architect, Arata Isozaki, inBarcelona, Spain.

The stadium seats 17,000 people and was constructed for the gymnastics portion of the1992 Olympic games. The venue's size enables it to host concerts and theatrical perform-ances as well as continuing to host sporting events. Outside the arena's main entrancethere are a series of sculptures designed by Isozaki's wife, Aiko Miyawaki.

Not only is the Palau Sant Jordi considered an architectural triumph for the city ofBarcelona, but the construction of the structure successfully employed a technique usedfor the first time in Europe and marked the building as an engineering feat as well.

Palau Sant JordiArata Isozaki

1990

Passeig Olímpic 5-7


Observations: The Palau Sant Jordi sits upon theMontjuic Mountain which provides visitors with a great, panoramic view of Barcelona and the Mediterranean Sea.

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Jardí Botànic de BarcelonaCarlos Ferrater and Bet Figueras

1999

Carrer Dr. Font I Quer 2


This botanical garden was created on the site of an old solid waste landfill in order toreclaim the land.

The focus of this botanical garden was on plants of the Mediterranean climates of theworld. The site was developed based off a triangular grid system which can be most easi-ly seen in the retaining walls located all over the site.

This system marries the natural topography, required by each climate region, with thepathways that connect all of these regions.

The Olympic area for the 1992 games in Barcelona contained numerous sporting arenasthat served many different venues contained within the Anella Olímpica, or Olympic Ring.This zone hosted the majority of the venues for the 1992 Olympic Games. A largetelecommunications tower by Santiago Calatrava sits in the middle of the ring and isflanked by stadiums. The Palau Sant Jordi sports hall sits to the east of the tower and theprimary stadium to the left of that.

The main stadium, the Estadi Olimpic Lluís Companys, was originally built in 1927 for the1929 Expo and for its bid for the 1936 Olympic games. The stadium was rebuilt in 1989to accommodate the bid for 1992 games. The stadium can hold 55,926 people normally,but was expanded for the Olympic Games to hold 70,000 people.

Anella Olímpica1992


Bus: 50, 55 and 193

Funicular de Montjuïc

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This apartment building in the Barceloneta neighborhood is an investigation about thecorner and the maximizing of light and sun in a site next to the sea.

When it was built, the building became part of the search of Catalan architects to developa modern architecture for the country after the Civil War.

The building has a first floor occupied by commercial stores and seven floors for apart-ments.

EEddiiffiiccii dd’’HHaabbiittaattggeess

Josep Antoni Coderch i de Sentmenat

1951-53

Passeig Joan de Borbó 43

Metro: Barceloneta - L4

Observations: Private apartments: building can only be seen from the outside.

Edificio Gas NaturalEMBT - Enric Miralles and BenedettaTagliabue

999-2008

Plaça del Gas 1, Barcelona

Metro: Ciutadella/Vila Olimpica - L4Bus: 10, 36, 45, 57, 59, 71, 92 and 157

The new building for Gas natural of Barcelona is located in the sea shore, close to theOlympic area.

As a living creature that reacts to external impulses, the new building of the company GasNatural, develops and extends addressing the different conditions of the program and thecomplex environment.

The aim is to reconcile several objectives: to create an urban landmark in the skyline ofBarcelona, to set up a dialogue with the low-rise houses of the neighbourhood and togenerate quality public spaces. (EMBT - Conceptual Memory)

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Torre MapfreIñigo Ortiz y Enrique de León

1992

Carrer de la Marina 18

Metro: Ciutadella/Vila Olimpica - L4

This mixed-use tower was built for the Olympic Village of the 1992 Barcelona Games. Theangled glazing creates an ever-changing pattern of reflections -- those stuck in traffic atthe tower’s base can momentarily glimpse the Mediterranean Sea in the reflections of theMapfre Tower’s Facade.

Torre Hotel ArtsSkidmore, Owings, and Merrill

1992

Carrer de la Marina 19


The Hotel Arts, by the Chicago office of Skidmore Owings Merrill Architects, is locatedon the shores of the Mediterranean in the former Olympic Village.

The 1,176,000 sq ft multi-use, high rise building is home to a 465-room five-star RitzCarlton hotel, apartment residences, a village-like retail centre, and office facilities. Thestructure of the building's exterior is expressed on a grid of every four storeys by whitepainted steelwork that rises up all 153 meters of the building. The grided design givesthe building a "lighter" feel than its neighboring building.

With the Moda Shopping Port Olimpic and the Manna Village neighboring the sitewhich is placed in the heart of Barcelona, the density of the surrounding area bringsmany people to the building.

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Designed for the 1992 Barcelona Olympics, the fish sculpture marks an important momentin Frank Gehry's career, as it was the first time Gehry’s firm had ever used CAD/digitaldesign software. Throughout Gehry's career, the fish motif has escalated almost to thelevel of a trademark.

This Sculpture was also important in the fact that it was the first public project Gehry evertook on. The sculpture has remained a landmark of its surroundings and continues to berecognizable the world over today.

Fish SculptureFrank Gehry

1992


The building is located within a row of residential buildings and provides an opening tothe newly created public square within the block. The entrance is created by a suspendedstructure between two apartment buildings creating a gateway into the courtyard. Insidethe public square is a single story building that wraps around two sides of the courtyardproviding reading rooms for the library. The fully glazed walls are covered by a series ofvertical blades forming a walkway that runs between them. The library is a branch of theBiblioteques de Barcelona.

Biblioteca de Sant Antoni RCR: Aranda Pigem Vilalta

2007

Carrer del Comte Borrell 44-46

Metro: Sant Antoni - L2

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Mercat de Santa CaterinaEMBT - Enric Miralles and Benedetta Tagliabue

2005

Avinguda de Francesc Cambó 16

Metro: Jaume I -L4 Observations: The market is open Mon.-Sat..

The project also includes housingfor senior citizens.

The market was first built in 1948. Previous to that the space had been occupied by asmall convent dating back to 1844-1848. The convent is still preserved in the market andserves as a sight seeing area for tourists. Also the market houses a few senior citizens,and a 1250 underground car park. The objective of the architects was to not merge oldand new into a unified entity.

The undulating roof structure is made of steel arches with a steel and timber frame. Theroof is tilled with exuberant colors that can be viewed from adjacent apartment buildingswhile the inside is made of non-orthogonal slats of wood that further enhances the liveli-ness of the interior space of the market.

The market is a nucleus for its surrounding area, a transition area to the community. It isoften referred to as a city within a city, serving as a lively renovation and addition to thecity

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This building is characterized by an assembly of pure geometric forms and curves and thewhite façade heightens the play of theses forms.

According to Richard Meier: "It seemed to me that the best approach would be to providedifferent kinds of exhibition or gallery spaces for the Museum, rather than a repetitive sys-tem of spaces, since the artworks to be shown would have different scales at differenttimes - sometimes large, sometimes small, sometimes needing light, sometimes needingno light. So we developed a series of spaces that could accommodate all kinds of activi-ties and exhibitions".

MACBA -Museo de Arte Contemporaneo deBarcelonaRichard Meier

1996

Plaça dels Àngels 1

Metro: Catalunya - L3

Observations: The Plaza is the main hub for skateboarders, who meet there constantly.

The CCCB is Spain's largest cultural center and was designed by Viaplana and Piñon. Ithosts exhibits of renowned artists as well as seminars, open forums and workshops relat-ed to the art and culture of the city.

The CCCB building was originally an almshouse, but today all that stands of the originalstructure is the façade and part of the courtyard. The rest of the building was designed instark contrast to the original structure, consisting of a glass and steel façade on the exteri-or and a modern interior design.

CCCB - Centre de Cultura Contemporània deBarcelonaAlbert Viaplana and Helio Piñon

1802 Original building1994 Renewal

Carrer de Montalegre 5

Metro: Universitat - L1 and L2 or Catalunya - L1 and L3

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L’illa DiagonalRafael Moneo - Manuel de Solà-Morales

1986-1993

Avinguda Diagonal 557

Metro: Maria Cristina - L3Bus: 6, 7, 30, 33, 34, 66, 67, 68 and Tomb BusTram: L'illa - T1,2,3

The Diagonal Building takes up the theme of repetition and rationalism characteristic ofskyscrapers and very tall buildings, and applies it to a horizontal development moreappropriate to the context of the site. The avenue is formalized with a structure like anurban center, conferred by the presence of a structure on a very grand scale, strong inimage and evocation.

The functioning of the Diagonal block has been approached as a center of integrated serv-ices: stores, shops, food market, offices, hotel, amusements, restaurants, conference facil-ity, gardens, and car park.The pavement of the Diagonal has been tripled in surface areaand height in order to accommodate all of the uses of one of the city's major centers ofactivity.

The rigorous aspect of the metropolitan façade along the Diagonal contrasts with thecheerful character of the rear façade which looks onto the peaceful, sunny interior park. The rationalism which dominates all of the project's architectonic language finds a sensi-tive aesthetic value in the many details and nuances, elements which create real intereston the small scale, close to the user and visitor.

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The new auditorium for the Barcelona Auditorium Consortium sits near the edge ofBarcelona's nineteenth-century grid and is near the Plaça de les Glòries.

Moneo created the building to be an isolated, self-sufficient building containing two con-cert halls, a museum of music, and a library of musical studies. All these program ele-ments are within a concrete grid, stainless steel panel in-filled longitudinal structure.

Inside this apparently solid volume is a giant void that provides public space and is thecenter of the building's life. L'Auditori has become a focus of musical life in Barcelonasince its completion.

L’AuditoriRafael Moneo

1990 - 1999

Carrer de Lepant 150

Metro: Marina - L1 or Monumental - L2 Bus: 6, 7, 10, 56, 62, B21, B25Tram: Auditori/Teatre Nacional stop - T4

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Torre AgbarJean Nouvel Ateliers - b720

1999 - 2005

Avinguda Diagonal 211

Metro: Glòries - L1

Observations: The buidling houses the watercompany of Barcelona:Ag (aguas) bar (Barcelona)

Of its 38 floors, it includes offices, installations, a cafeteria, a dome, an auditorium, park-ing, and four separate floors for beautiful open views of the city. It's made of two ovalcylinders, covered by a glass and steel dome.

Inspired by Gaudi's architectural legacy, Jean Nouvel called it a "distant echo of oldCatalan obsessions, carried on the winds that blow in from Montserrat." The building ispointing toward the sky, seemingly shooting from the ground like a geyser, and recreatingthe shape of the rock formations in Barcelona.

It aimed to conserve energy and be a green building, hoping to minimize any contamina-tion. In reality, it has 4500 windows for natural ventilation and most of its lighting, reduc-ing energy costs. In addition to that, coolant gases without CFC's are used to avoid dam-aging the ozone layer, and phreatic water is used for cleaning in order to save water.

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Hotel Habitat Sky is a beacon for the city of Barcelona.

Rising 115 meters it gives off light day and night. The exterior is clad in thick sheets ofaluminum creating intense but ever-changing reflections of the sun.

The building composed of three rectangles, one of which forms the horizontal base andtwo of which appear as planes sliding together to form the tower. The structure is set atand diagonal to the traditional layout of the city, an especially visible aspect at night.

Hotel Habitat SkyDominique Perrault

2008

Carrer Pere IV and Avinguda Diagonal

Metro: Selva de Mar - L4Tram: Fluvià or Selva de Mar - T4

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Parc Central del PoblenouJean Nouvel Ateliers

2001 - 2004

Avinguda Diagonal and Carrer d'Espronceda

Metro: Selva de Mar - L4 Tram: Fluvià or Selva de Mar - T4

The Parc Central del Poblenou, designed by Jean Nouvel, is a sustainable park that isintended to be used by the entire community, as a reference point in the dense urban set-ting through a natural, recreational and ornamental green space.

The triangle-shaped park contains three separate gardens. The biggest garden contains alarge man-made forest adjacent to a ramp of volcanic soil. In the square garden, thewoodland surrounds an old factory. In the third garden, the most prominent feature is acrater that carries the visitor through a spiral pathway. Although the park itself is a veryopen space, the perimeter of the park is barricaded with varies types of walls. Differenttypes of fixtures, furniture and sculptures were placed to enhance spatial and visual expe-riences.

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Completed in 2002, the Parc Diagnonal Mar is a 35-acre park located in a former industri-al district and centered around Barcelona's Avenue Diagonal.

This urban redevelopment project, designed by Enric Miralles and Benedetta Tagliabue,was inspired by the hosting of the Universal Forum of Cultures held on the site in 2004.The event gave the city of Barcelona the opportunity to revitalize parts of the city that wereno longer being utilized and going to waste. Hines, the developer, invested 36 millionEuros in this award winning park which is Barcelona's third largest park. It is a collectionof three lakes, pedestrian walkways, bike and skating paths, a dog walk park, a children'spark and multiple water works.

Parc Diagonal MarEMBT - Enric Miralles and Benedetta Tagliabue

1997 - 2002

Avinguda Diagonal and Carrer de Josep Pla

Metro: Selva de Mar - L4Tram: Fluvià or Selva de Mar - T4

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Illa de la LlumLluís Collet and Ignacio Aparicio

2005

Passeig de Garcia Fària 73

Metro: Maresme/Forum or Selva de Mar - L4 Tram: Fluvià or Selva de Mar - T4

Observations: Private housing, not open to public.

This housing complex is part of a project to connect the city to the sea along DiagonalMar. Illa de la Llum was built in what was at the time an industrial area that was recover-ing from decline. After it was built, it improved the standard of life of the neighborhood.

The housing has aluminum shutters that cover the porches, which contributes to a con-stantly changing façade.

The 4-floor building includes 2 public shops and the communal area consists of gardens,playground, and swimming pool.

Colector Solar y Promenade: Forum 2004Torres Tur and Martínez Lapeña

2004

Plaça del Forum

Metro: Maresme/Forum - L4 Tram: Forum - T4 Bus: 7, 36, 41, 43, 141

Observations: to maximize solar exposure throughout the year, the panels faces south at a 35° angle.

In 2004, Barcelona hosted "Forum 2004," a 141-day-long cultural celebration to benefitthe city. Over $3.6 billion was spent on new urban infrastructure, including a vast solarenergy panel. A broad avenue was extended to the sea to allow the public to reach thebeach, which had previously been blocked by industrial buildings.

The forum esplanade is laid out like an open hand in plan view. The solar collector islocated on its first finger, and is a huge sculptural pavilion. It is comprised of four con-crete supports with a plane of photovoltaic cells above. It offers a nice place of shade onits otherwise large, empty and mostly hot area. Also, it allows for excellent sea views.

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Faced with the task of creating an emblematic building at the end of the AvingudaDiagonal, Herzog & deMeuron eschew formal exuberance, and create a hermetic, mysteri-ous, and flat object.The triangular Forum building -- centerpiece of the 2004 ForumBarcelona uses jagged strips of mirrors to break up the heavy mass of the building.Skylights puncture through the building and the triangular mass cantelievers out over thebase to establish a connection between interior and exterior.

Edificio Forum Herzog & De Meuron

2000 - 2004

Plaça de Llevant s/n

Metro: Maresme/Forum - L4 Tram: Forum - T4 Bus: 7, 36, 41, 43, 141

Observations: Houses an 3200 seat auditorium and a 5000 m2 (54000 ft2) exhibitionhall.

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Walden 7Ricardo Bofill Taller de Arquitectura

1970-1975

Carrer Reial 107, Sant Just Desvern

Tram: Walden - T3

Observations: see www.walden7.com

Walden 7 was designed as an ideal model for a small city. Walden 7 seeks to solve thelack of community, collective activity, and public space that are absent in many of today'scities.

The facade of Walden 7 appears monumental and strong, somewhat bearing the appear-ance of a medieval fortification. The facade surrounds 4 main patios and is connectedthrough various bridges and passageways. The use of color assists in defining theseareas, with the facade being red, patios being blue, and balconies and balconies andbridges being violet and mustard.

Nearly every apartment in Walden 7 has a view of both the outside world and one of thepatios. Swimming pools are also present on some of the patios.

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The Media Tic (Technologies of information and communication) is located in the heart ofthe 22@, a district in Barcelona intended to become a center for innovation. The neigh-borhood, once the industrial area of the city, is the newest project of transformation of thecity, following Barcelona’s tradition of modeling parts of the city from specific goals toadapt old parts of the urban setting to the dynamics of this century.

The Media Tic is a meeting point between companies and citizens to exchange the latestprogress in tachnology, information and communication and its building has acted as alab to test the newest technologies in terms of the relationships between the environment,materiality and functioning of the building.

The building was built through four rigid frames (porticos) in the perimeter from where theslabs hang from metal cables. The skin is a sophisticated composition of pillows of nitro-gen controlled by computers that reacts to the exposure of the facade, changing like adiaphragm, changing the performance of the skin throughout the day.

Media TicEnric Ruiz Geli - CLOUD 9

2009

Sancho de Avila Street and Roc Boronat Street

Metro: Llacuna - L4

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Can Framis Art CenterJordi Badia

2008

Carrer de Roc Boronat, 116-126

Metro: Llacuna - L4

The Can Framis Art Center, located in the place of the old Can Framis factory complex,houses the Fundación Vila Casas museum. The Art Center is centered in the 22@ District,a former factory and industry zone that has been pushed for redevelopment by BarcelonaCity Hall becoming a housing and tech industry area. The Art Center is based off of tworestored, preserved buildings from the factory and then connecting them on the footprintof an even older building. The approach is very minimal, almost brutalist based off of thetwo old warehouses which according to Jordi Badia "have little architectural worth". Thewhole premise behind the design is to accentuate contrasts. The contrasting 2 factoriesand the building bridging between them form a courtyard also using rescued materialsfrom the old factories. The landscape highly contrasts the actual buildings, but then theoverall lot and building highly contrasts the surrounding city. The factories are 1.5mbelow the rest of the city creating a garden around the building hiding the streets and carsforming a peaceful oasis of paved ground, many trees, and winding paths.

The interior was also created to be experienced in a specific way. Visitors begin at thehighest level and then move downwards slowly experiencing semi lit areas and well litdisplays continuing the contrasting theme. Materials also contrast throughout, with a con-crete structure and wood appearing on window frames, staircases, and between the build-ings. In one point, the building juts out and frames a large bay window, the largest projec-tion of many, drawing visitors to the site.

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This project, by Willy Müller Architects, is a large commercial building for the MercabarnaCompany. It was intentionally a center for the large European Company where 3 marketsare housed, company offices, exhibition space and as well as a florist education center. Itwas to be a project which stood out and potentially became the face of the company inBarcelona.

Conceptually, the building is about the roof, a roof which contains specific programmaticelements, dipping and elevating in folds to create openings and entries into the complex.The geometrical design on the top side, made of zinc plates, exemplifies the mobility andgraphical illusion behind a flower market. Furthermore, graphically, Muller uses severaltouches of vibrant color to convey the image of a flower market and as well as the multi-use of this complex. It is a structure which emerges from the ground and cantilevers overtop and allowing a diverse set of technologies to be housed within. The 3000 solar panelson the top of the building are a part of this set. And more discreetly, on the interior we seethe installation of several temperature control systems allowing for a more efficient andproductive manner of storing and selling the merchandise. The steel structure is a simplegrouping of trusses which hold up this wonderful "carpet" of color for a roof. The foldingof the roof allows for a diversity of spaces to be brought together, each with their uniquepurpose. What is accomplished in this project is the very active and mobile attitude of thetraditional "flower market".

The flower market has always been somewhat temporary or seasonal. This project gives apermanent setting for such short-term use, but also allowing the use to become long-term.

Mercabarna Flower MarketWilly Müller Architects

2008

Carretera B-204, KM1

Renfe Cercanías: Aeroport

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GRN

Girona, or Gerona in Spanish, is a small city located at the confluence of the rivers Ter,Onyar, Galligants and Güell just an hour and a half from Barcelona.

Like many cities around Spain, Girona is the result of many layers of history and inhabi-tants -- Visigoths, Romans and Moors lived in the area since the 8th century. During theRoman times, the city was called Gerunda, and its position, strictly militar, was organizedaround the Via Augusta, now “carrer de la Força”, that ran throughout the whole empire.

In the heart of the city lies one of the best kept medieval centers of Europe, called “El Call”and home of a vast jewish community until the XV century. The Cathedral or Church ofSanta María sits on a high part of the city and was built between the XI and XVIII centuriesunder diverse styles, Romanesque, Gothic, Renaissance and Baroque.

City Population: 94,484 Area: 39,1 km²

GIRONA / GERONA

GRAN

VIA

JAUM

E I

PASSEIG DE LAS CANALEJAS

CARRER DE LA FORCA

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Designed by the team of Girona architects Jordi Bosch Genover, Joan Tarrús Galter andManel Bosch Aragó, the building has been conceived as both a concert hall and a confer-ence centre.

The most striking feature of this north-facing building is the geometrically strict and visu-ally powerful impact of its dimensions. The materials used constitute another notablecharacteristic: white concrete, glass curtain-walls and stainless-steel mesh blinds to givea finish to the reception areas, and surfaces made up of sanded stainless-steel plates andextensions of wood for the conference rooms inside the building. The structure of thebuilding has been designed in such a way as to complement the Girona Trade Fair Centre,which has a net exhibition area of 7,815 m². The two facilities are connected by an over-head passageway, so that it is possible to use the two buildings in a simultaneous andcomplementary fashion.

Auditori de GironaJordi Bosch Genover, Joan Tarrús Galter andManel Bosch Aragó

Passeig de la Devesa 35, Girona

Bus: Line 11

Built over the span of ten centuries, the Cathedral of Girona was built in numerous stagesof completion and transformation, embodying several different styles and changes in theoverall vision of the design.

Bishop Pere Roger began the construction of the Romanesque cathedral in 1015.Construction of the cloisters and Romanesque tower (Charlemagne's tower) were carriedout during the years 12th century. In 1312, a new gothic addition was begun because theRomanesque temple had become too small. Pere Sacoma directed the design and con-struction of the Apostles' door in 1370.

In 1417, Guillem Bofill convinced Bishop Dalamau de Mur and the Cathedral Chapter toconstruct the Gothic nave, reaching completion in 1570. The new design consisted of thewidest Gothic nave in the world at 23m/75ft and one of the largest vaulted spaces inGothic architecture at 50m/165ft long and 43m/112ft high. During the 17th century, thebell tower and Baroque stairway were constructed under bishop fra Miguel Pontich's time.The construction of the Baroque façade and bell tower were undertaken during the 18thcentury. From 1961-1975 several finishing touches are made to the façade and Apostles'door.

Today, the cathedral also houses a few museums with an extensive collection of manu-scripts, tapestries, and art ranging in time from the pre-romanesque period to the early20th century.

Catedral de Girona1312 - Pere Sacoma1416 - Guillem Bofill and Antoni Canet

Plaça de la Catedral s/n, Girona

observations: The Cathedral has the widest Gothic nave in the world: 22,98 mts

2009-2010 SPAIN/PORTUGAL SUMMER PROGRAM COURSE ROSTER

Matthew Abbott is a 3rd-year BArch student from Cleveland, Ohio. He plays the Alto, Baritone,and Bass Saxophone and loves jazz. He is an Eagle Scout, loves the outdoors, and to travel as muchas possible.

Ayesha Akhtar is a 3rd-year BArch student. She was born in Lahore, Pakistan, and since then shehas lived in 5 cities in 3 countries. She enjoys cricket, travelling, painting and learning about differ-ent cultures. This will be her first time visiting Europe.

Lulu al Awadhi is a 3rd-year BArch student. She is a Kuwaiti from Kuwait living in America. Sheloves architecture and art just as much as she loves food and color. She also really likes the colorduck blue.

Julie Alkhovsky is a 1st-year BArch student. Her full name is Julie Zina Alkhovsky, and she comesfrom a Russian-Jewish family. She has played tennis (competitively and for fun) and the pianoalmost all of her life. She loves to draw, and is allergic to many things around her.

Daniel Aronberg is a 2nd-year BArch student. He was born and grew up in St. Louis, MO. Heattended University City High School where he participated in athletics.

Aric Austermann is a 3rd-year BArch student attending Illinois Institute of Technology as aCamras Scholar. He has been interested in architecture for his entire life and has worked steadfast-ly towards achieving his goal of designing the world's tallest building.

Eric Cheng is a 3rd year architecture student. He likes straight lines, triangles, the color red, thecolor black, film cameras, antique mopeds and eating. Eric Cheng is from Hong Kong.

2009

Daniel Ciorba s a 1st year P3 MArch student born in Timisoara, Romania and raised in Portland,OR. He majored in Urban Planning at the University of Washington in Seattle and is a sports nut. Heplasn to move back to the Portland area after graduation. He loves the outdoors, having long talksabout life, and singing whatever song is playing on his iPod.

Matt Devendorf is a 2nd-year BArch student. At an early age, Matt developed a passion for cre-ating and building things. However, it was not until later that he realized that this was the foundationfor a greater passion: architecture. Ever since, he has been on a quest to achieve architectural eupho-ria. He also enjoys writing, drawing, painting, and playing the guitar.

Stacy Economy s a 2nd-year BArch and structural engineering student from Arlington Heights, IL.She is excited to study Spanish architecture firsthand.

Jacob Ernst is a 3rd-year BArch student raised in Casper, Wyoming before attending IIT. Heenjoys spending time outdoors and searching for the world's greatest food.

Elaine Erwin is a 1st-year BArch student. She is from Portland, Oregon and loves IIT and every-thing Chicago has to offer. She also enjoys lacrosse, thrift shopping, spending time with her friends,recycling, volunteering, playing board games, listening to music (mostly alternative-indie-electron-ica) and photography.

Nicole Firnbach is a 3rd-year BArch and Structural Engineering student from Elk Grove Village,Her hobbies are drawing (since age 5), gymnastics (since age 2), cheerleading (since age 12).

Eun Kim is a 1st year BArch student.

Joseph Francis Klimek is a 3rd-year BArch student and is here for your entertainment. If there'sa fork in the road, he’ll take it. The east coast had been his habitat for 26 years until he set out todiscover the fully explored pavement of the Windy City where nobody goes anymore because it's toocrowded. He transferred to IIT from Wake Tech Community College in Raleigh, NC. Tuition holdshim hostage from enjoying too much of the Chicago Way.

Daniel Medrano is an architecture/engineering student pursuing a BArch and a Master's degreein Structural Engineering. His goal is to become an architect and an engineer so that he can incor-porate his musical talent and his mathematical ability to design concert halls and theatres. He isproud of his Spanish/Italian heritage. He was born in Argentina, became a citizen of Canada and isa resident of the United States where he has lived with his family for the past eleven years.

Justin Miller is a 3rd-year BArch student. He grew up in West Brooklyn, IL. To find this town, drivearound for three hours with your eyes closed, and turn left. It is absolute nowhere. He currentlyplays in multiple death metal bands as a guitarist and vocalist. He is the chairman of the StudentSustainability Committee. He plans to work for various firms, create his own firm, and eventuallytake over the world.

Stacy Morton is a 3rd-year BArch student. She is from the northern suburbs of Chicago. Sinceshe was ten, she has been performing the double bass in orchestras around the world. At IIT, sheserves as Vice President of Student Life and started the Student Sustainability Committee, alsoknown as Gangreen. She is also a Leadership Academy Scholar.

Danny Mui is a 2nd-year BArch student. He was born and raised in Chicago. A graduate of LaneTech, he won the 2007 Newhouse Competition.

Matt Renfree is a 1st-year BArch student and plans to focus on Sustainable Building and UrbanPlanning. He is currently also doing minor work in both Graphic and Industrial Design, and rapidlyexpanding his work in photography. Outside of the studio, Matt enjoys exploring every inch of thecity, and photograpghing the soon to be lost relics of the architectural past.

Archit Sawnhey is a 2nd-year BArch student from India. He plans to go to Europe after his edu-cation. He has always wanted to pursue a career as an Architect. He loves going out and walkingthrough downtown Chicago, and always ends up learning something new.

Samantha Spencer is a 2nd-year BArch student and is originally from St. Louis, MO. Her lovefor architecture began with the help of her father, who was a bricklayer. Growing up in an environ-ment filled with construction and architecture, she developed an interest. She specifically is inter-ested in sustainability and urban planning.

Tyler Stellwag is a 3rd-year BArch student. Born and raised in the suburbs of Chicago, he is artis-tic, athletic, and shy.

Mark Swingler is a 3rd-year BArch student, born in Peoria, IL. He has been involved in sports,wind symphony, marching band, jazz band, and pep band. IIT has allowed him to unleash his cre-ative side in learning and applying both traditional and modern skills in the design of architecture.

Ben Tolsky is a 1st year P3 MArch student. He grew up in Buffalo Grove, IL and now lives inLincoln Park. He graduated from the University of Illinois, where he studied math and philosophy.He plays underwater hockey and is a diehard Cubs fan.

Teodora Vasilev is a 3rd-year BArch student. She was Born in Bulgaria in the year of Chernobyl,and moved to the United States fourteen years later. She has lived in Chicago for 9 years, andabsolutely loves it. 99% of her time is consumed with school. The rest of her time breaks down asfollows: .4% sleeping, .05% commuting, .55% other (work, going out, etc.). When she’s not inschool she enjoys traveling, adventures, spending time with her family, reading books, and beingoutside.

Yu Zhang (Grace) is a 1st-year BArch student from Shanghai. She loves to travel and record theinspiring things in her notebook. She also likes meeting people from all around the world and com-municating with them in their own languages. This will be her first independent visit to Europe.¡Vamos!

Bryan Slonski is a 4th-year BArch student. He was raised in the Chicagoland area and has donesome traveling, but he still has a lot to see.

Michelle Davidson is a 2nd-year BArch student. She Is from a Northwest suburb of Chicago andabsolutely loves Chicago. Her inspiration to become an architect came from her father who is anarchitect. She also has a passion for music and dancing.

Tomasz Folta is 2nd-year BArch student from Arlington Heights, Illinois. Since middle school,he's been studying various forms of design, from regular art classes in school, to graphic arts cours-es in high school. In high school he started taking engineering courses and basic CAD classes andwas drawn into the world of architecture ending up at IIT.

Collin Janecek is a 2nd-year architecture student from the great city of Memphis, Tennesseewhich was founded by the Pharaoh Menses, and conquered by Alexander the Great leading to thetransfer of Egyptian power in the states to Cairo, Illinois. Memphis returned to greatness with theinvention of the steamship and Three 6 Mafia. The best explanation Collin is a quote by Oscar Wilde:"My wallpaper and I are fighting a duel to the death. One or the other of us has to go".

Angela Khermouch is a 2nd-year BArch student minoring in Business. Born and raised in NewYork City, she loves to spend her free time exploring cities by bike or on foot. Aside from architec-ture, her passions lie in stop-motion animation, soccer, and anything design.

Jeffrey Perkis is a 3rd year-BArch student. He lives in Wheaton, a suburb of Chicago. Afterspending numerous years in management positions of several different companies he has returnedto school in a search for better opportunities with a college degree. In his free time he likes to getaway on his motorcycle as much as possible.

Sasha Brenecki is a 3rd-year architecture major and is pursuing a minor in ConstructionManagement as well as specializing in Design/Build. She is from Blue Island, IL. Growing up, shewas interested and devoted much of her time to the Fine Arts - dancing for fourteen years, bothsinging in multiple choirs including a cappella and acting in theatre for over four years, and com-bining the three in musical theatre for four years. When architecture gives her a small break, shewalks downtown exploring Chicago for hours.

Aldair Renteria is a 1st- year architecture student. He was born in a small pueblo in Mexico calledTototlan, but later moved to Santa Barbara, California and finally, in 1996, to Chicago. Living inChicago inspired him to become an architect. Having a passion for art, math, design and Lego's asa young child, living in the city made him realize that architecture was his calling.

2010

Katsiaryna Shpak is a 3rd-year architecture student (yes, she can say ‘3rd-year’ now:). She grewup in Minsk, Belarus and moved to the US when at 14. She loves painting and drawing and has beenparticipating in open exhibits around Chicago. Traveling is one of her passions. She would like tolearn from travel as much as she can.Her other interests are tennis, biking, skiing, and walking a lot,of course! On this trip, she wants to have a lot of fun with her friends who are coming along! LETS GO!

Erin Skvorc is a 3rd-year BArch and Structural Engineering student from Wasilla, Alaska. She runscross country and track for IIT and skis when she is at home. She also enjoys ultimate frisbee andpretty much anything outdoors. She came to IIT to experience something entirely different fromAlaska, and can't wait to do that in Spain and Portugal. Erin wants to climb at least one tree in everycity visited this summer, and hopefully make it back down too.

Lauren Wissman is a 2nd-year B-Arch student hailing from Dayton, Ohio, "the birthplace of avi-ation" AND "the heart of it all," according to state approved license plates. She has a passion for(good) architecture, soccer, skiing, the outdoors, and making foreign friends.

Timothy Wong is a 2nd-year BArch student. He was born in Mons, Belgium and has traveledalmost all his life, moving from one country to another every two years. He decided to come toChicago after seeing the skyline light up at night. He speaks fluent French and Chinese. He hasconsistently played competitive tennis for the last 5 years and coached the sport for the last 2years.Through all the countries he has been to, nothing has surprised him more than the diversityof the architecture.

Adjunct Assistant Professor Romina Canna received her Architecture degree from the NationalUniversity of Rosario, Argentina (UNR). She is currently a Ph.D Candidate in Urbanism at the BarcelonaSuperior Technical Architecture School (ETSAB) of the Polytechnic University of Catalunya, Spain(UPC). She has worked in Chicago, Rosario and Barcelona. She has also maintained her own privatepractice, has taught urbanism at the UNR, and helped develop a distance-learning doctoral program forthe UPC. Her writing has been published in the magazine Matéricos Periféricos, and in the book ElHabitar. She is co-principal of R+D Studio.

Studio Assistant Professor David Goodman graduated from Cornell University with a Bachelorof Science in History of Architecture and Urbanism and a Bachelor of Arts in Government, and laterattended the Harvard University Graduate School of Design, where he received a Masters Degree inArchitecture. He has worked in the office of Rafael Moneo in Madrid, Spain, and in several offices inChicago. He has also taught architecture at the Harvard University Graduate School of Design, theBoston Architectural College, and at the Career Discovery program at Harvard. His work has appearedin the journal Log, and in the anthology Chicago Architecture: Histories, Revisions, Alternatives. He isa licensed architect in the State of Illinois. He is co-principal of R+D Studio.

COURSE INSTRUCTORS

Copyright 2010 Illinois Institute of TechnologyCollege of Architecture

Documents

Spain/Portugal 2010