3NTA_ISSUE#4_BARCELONA

April 2015 ISSUE # 4

Learning from students

Architecture and Design Magazine

r u o y d e v I lo

food

I loved your LA

N DS C A P E

r u o y d I loEvEeTS STR

I loved your

PEOPLE r u o y d I love E NATUR

r u o y d e v I lo ES PARTI

BARCELONA

ISSUE # 4/ April 2015

WHY

3nta.com

1. 3NTA is an online magazine, with the aim of giving to students’ projects and ideas the dignity they deserve.

2. 3NTA does not pretend to be young, 3NTA is young.

While being young, it enjoys the privilege of being naive.

3. 3NTA doesn’t ask for your grades. It considers “interesting” as its only value. For 3NTA there is no “good” or “bad” intellectual work.

4. 3NTA is international and local at the same time. With the role of the rotating editor it proposes local points of view in an international way. The rotating editor changes every month and it is always based in different city.

5. 3NTA is neither serious nor friendly. It is seriously friendly. It believes that communication requires effort and innovation within both architecture and design.

6.3NTA is not a random name. There is a very long story behind it. Maybe one day we will tell you about it… Maybe not.

7. 3NTA doesn’t know if it is going to last forever. But a beginning is more than enough.

8. 3NTA is quoting SAN ROCCO with this manifesto. If you don’t know SAN ROCCO, it’s enough to know that it’s a very cool architecture magazine, but 3NTA is much cooler.

9. 3NTA realized too late that the points are just 9. Unfortunately 3NTA is made by people and people make mistakes all the time. Students more than professionals.

Therefore 3NTA is wrong on everything it says, and loves it!

10. this is all.

WHY

the magazine

Students all over the world share their efforts on 3NTA every day and we decided to make it tangible in a Issuu magazine.

Here we collected some of the best contents presented on the website in the last month. Articles, projects, graphics, special contents from the rotating editor; all re-edited and reorganized, in order to give you a small taste of what 3NTA is about: students.

BARCELONA

ISSUE # 3 / March 2015

#4

BARCELONA[

360° students' architecture and design magazine

“Barcelona is passion, Barcelona is colors, Barcelona is taste, just like red hot peppers”.

WE ARE BACK

ISSUE # 4/ April 2015

B Y T H E ED I T O R S B arc elona m’enamora

If Barcelona were a person, it

beaches and its architecture at-

would be a beautiful, confident

tract almost 4 million visitors a

woman,one of those who never

year. Things have changed a lot

walks the street without making

since then. Today we live in a so-

sure they look perfect. Wearing

ciety where information is more

elegant but indiscrete clothing, she

available than ever, but deep re-

was ahead of her time when she

flection is absent. We live in a

was young and now she has grown

society where relationships are

with an exquisite taste for little de-

based on connections rather than

tails. She has a perverse side that

communication, where the viral

she is not afraid to show, a strong

is above the vital, where conse-

personality, although a bit elitist.

quence is above consciousness,

Always proud of her Catalan blood

where the new is more exciting

and feeling closer to Europe than

than the good.

the rest of her country, she will seduce you without letting you know.

Architecture doesn’t escape that shallowness. A walk through any

The world knew about Barcelo-

college is enough to see many

na when city held the Olympics

buildings that seem cool at a first

in 1992. The Catalan culture, its

sight but don’t withstand any sec-

ond look, let alone a critical anal-

Catalan architect J.A. Coderch

ysis. The problem is not on the

wrote that “Geniuses are not what

unconscious mistake or an incom-

we need now”, a calling for the

plete design - that is why school

pursuit of the traditional values,

exists - but on the alarming lack

the search of the lost architec-

of critical thinking. The empty

ture...it could be a futile effort, but

speech, the abuse of the digital,

any small chance of success makes

the unjustified forms, the given

the effort worthwhile. Hey, and if

airs.

genius appears between rigor and

This involution that started a while ago is embedded today in the nomic and spiritual crisis. However, Barcelona still stands out as an important international center for culture and art, and this nev-

Barcelona’s young architects protect this sensitivity, deeply ingrained in our Mediterranean blood. Because of all this, Barcelo-

er-ending conversation between the city momentum and its social network is constantly preparing for

Glòria Serra Coch

model based primarily on personal splendor is unsustainable.

Spanish society, in a time of eco-

the next big challenge.

hard work, let’s applaud it, but a

na is the perfect scenario to launch the international project of 3NTA. Barcelona m’enamora, i a tu?

Marc Roma Trepat Perez

Sergi Sauras

BARCELONA

ISSUE # 4/ April 2015

I N DE X [10 -13]

Projects/Design

Gal a 27 9: Int erurban motorcycl e Silvia Arch Sisquella, Marc Capdevila Sitri , Edgar Melero Garcia , Miquel Vallribera Ramon

[14 -20]

Articles

M onume nts of yugoslav ia

Cut out

FAM OUS ARCHI T ECTS CU T O UT Ylenia Falamesca

[24 -29]

ART BY A P I E CE O F PA Electra Safari

[40 -43]

Cooking for

R I GATO N I LEEK & BACO

[44 -45]

Graphics/Inf

SH O RT H I STO RY O F E G Deepa Parapatt, Valeria Loreti

Articles

M EETIN G CARTO O NS Helena Patelisova’

[30 -34]

Articles

Devi Petti

Anežka Prokopová

[22 -23]

[36 -39]

Project/Architecture

IN TERSECTI O N BA R CELO NA LI NKS Jo Juanola, Glòria Serra Coch

[46 -49]

Articles

O pen l ett er int erns 3NTA founders and directors

[50 -53]

Graphics/Po

AR C H I TE CTUR AL P R O F Nicola Vecchio

[54 -58] PER . . .

Articles/Interview

W HAT DO YO U T HI NK? Glòria Serra Coch, Marc Roma Trepat Perez, Sergi Sauras

students

ON

[60 -73]

Projects/Architecture

ZO O , KNO LEDGE S PA CE Alberto Lera

fographic

GG C U P S

[ 74 -75]

Articles

ARCHI CHA R A CTER OTTO F R E I Adriano Gazzellini

rns CO ND I T I O N S

ster

FILE S

All the contents have been chosen by our ROTATING EDITORS

BARCELONA

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Projects/Design

Gal a 2 7 9 : Int erurban motorcyc l e

Author: Silvia Arch Sisquella, Marc Capdevila Sitri , Edgar Melero Garcia , Miquel Vallribera Ramon Nationality: Catalan/Spanish City and date of birth: Barcelona, 1990-1991 EMAIL: miquelvallribera@gmail.com , edgar_cnt@hotmail.com , silvia1392@hotmail.com , marc_sitri@hotmail.com Function: Motorbike Year: 2014 Institution: ESDI (Escola Superior de Diseny) Tutors: Guiu LlusĂ

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The project is based in the design of an interurban motorcycle to carry goods, so the elaboration of a functional prototype on a real scale to check all the hypothesis it’s essential. It has to be studied for its mobility, goods and ergonomic needs for two-wheel vehicles for Barcelona.

Studying the type of user, it’s believed that medical assistance, posts and firefighters will fit perfectly in this design.

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Articles

monum e nts of Yugos l avia Author: Anežka Prokopová Nationality: Czech location: Delft, Netherlands/TU Delft, Delft

Stumbling across one of the gigantic, mighty and yet somewhat fragile monuments in the middle of a misty land must be a truly unforgettable moment. Breath-taking with the sunrise, awe-inspiring during a cold winter day. With every change of weather, these monuments change too, although firmly attached to the rocks below them. In the middle of a desolated nature or right at the end of a village, they can be surprisingly scary.

“They can be strong and confident and in a while, weak and insecure”.

Their solitude makes them strangers to the surrounding nature as well as its complements. Balancing on a border between sculptures and architecture, they become objects of many contradictions.

©Jan Kempenaers

Tjentiště Spomenik

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BARCELONA

Being often inaccurately claimed as abandoned is just one of many meanings they selflessly happened to embody throughout time.

Given their history, those that are still standing hold many different emotions, hopes and memories.

Just as they stand, they are strangely beautiful in their solitude and grace, and yet, every single one of them marks and embodies a site of ©Jan Kempenaers

cruel battles and ominous concentration camps of the Second World War. This burden they occurred to carry along with them seems to still be changing and thus constantly shaping their charm.

©John DePalatis

Kadinijača Spomenik

Spomenik Podgaric

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Built in 1960’s and 70’s to commemorate victims of the many savages that took place, to remember heroes of battles as well as to encourage and strengthen the new unity of historically fractious Balkan states, they embodied variety of feelings and expectations. Not a long time ago, there were still thousands of them and still in 80’s they represented frequently visited places of a patriotic value, reminding

©Jan Kempenaers

those who felt victims during the anti-fascist battles.

Spomenik Petrova Gora

©Jan Kempenaers

©Kipar Janez Lenassi

Spomenik Makljen

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Spomenik Ilirska Bistrica

©Jan Kempenaers

BARCELONA

Spomenik Kolašin

Yugoslavia’s broke up into several smaller countries in 1990’s however gave them another meaning.

This breakup caused by manipulative ideologies and hatred followed after a process of wars during which thousands of innocent civilians were killed. Some monuments were destroyed during those battles, but many of them managed to survive, although sometimes severely damaged. They then became melancholic reminders of what was once a strong country and their meaning became sensitive and

©Primož Šmajdek

©Jan Kempenaers

poignant. Nowadays, hurt by the many fights and cheated by many

Spomenik Grmeč

asenovac Spomenik

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ideological and political promises, people of former Yugoslavia are now beginning to fight for these monuments again. Reminding heroic fights for freedom and better future, they represent what people now begin to search for again; their true pride and honorable values.

Advertising them as abandoned,which is appealing and very common in many medias, is therefore misleading. Numbers of them have never stopped being cared for and many others are becoming tended again.

©Primož Šmajdek

Jasenovac Spomenik

©vesnickamarkovska

The ossuary monument in Kavadarci

ISSUE # 4/ April 2015

ŠJan Kempenaers

BARCELONA

Korenice Spomenik

Lately, they have also become a rather popular place to visit by people outside of former Yugoslavia. Although many times unaware of their past, the mystery created by the elegant inappropriateness of the monuments is very appealing. Many artists are attracted by their many contradictions and themelancholy they radiate.

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Many of them use the monuments in a completely different context, far detached from their original meaning. That evokes a seemingly simple question. Could they ever function as pure sculptures, pieces of art, detached from their original meaning?

ŠJan Kempenaers

If yes, would they still be beautiful?

Sanski most Spomenik

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Cutout

FA M OUS A RCH I TE C TS C UT OUT

Every month on 3NTA new cutouts (.png) ready to use in your renderings and collage.

Author: Ylenia Falamesca Nationality: Italian location: Rome Function: Series of Famous Architects USED SOFTWARE: Adobe Photoshop CS6 Year: 2015

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Articles

M eeting cartoons Author: Helena Patelisová Nationality: Czech location: Prague, Czech Rep./JEPU, Ústí Nad Labem

It is not just a question of books, comics or films. They become part of our everyday life because we can encounter them everywhere. Why? Mostly it is kitsch, but we cannot help it. Children love them. And we were all once children as well so sometimes we secretly love them. They remain to us pieces of our own childhood. Naturally, we usually like just “old ones,” because we feel they are somehow connected to our origin.

When I became an exchange student traveling to Finland I was extremely pleased because I considered the country important for its history of design. But on the other hand I need to admit that a small part of me was enthusiastic just because this country was motherland of Moomins, a fairly tale of my childhood. Yet, my enthusiasm stopped when I discovered that Moomins were literally everywhere… There was also a Moomin-land quite similar to Disneyland .

What is nice and cute about huge fake Moomins living in the even more terrific word?

Moominland is nice when it only “maybe exist” and you need to use your imagination… And did you know that Arabia produces cups with Moomins and also one with Angry Birds?

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Finland is not the first country to do this… “The metamorphosis of media character into media character toy was once an interest peculiar to the Americans, because of the huge popularity of the cartoon character in the newspaper strip within their society during the 1920s and 1930s. However, like most things American, the influence soon spread to Britain and Europe.” A Collector’s Guide to 20Th-Century Toys In 1930 there were already toys of Popeye the Sailorman and the infamous Mickey Mouse, probably the most known and widely exploited character ever. Today they are as popular as ever.

©DISNEY

Below are some pictures:

©DISNEY

Organ Grinder tinplate wind-up toy with dancing

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“Today many children’s cartoon programmes appear on television at the same time as the associated media merchandize appears in the toy shops; the idea being that the toy is as important to the success of the cartoon programme as the programme is to the success of the toy.”

A Collector’s Guide to 20Th-Century Toys

However, we can see that these items are increasingly missing in aesthetic value. Can we still speak about design? Or is it just about business continuing to play the biggest part of it?

If it were just T.V. toys spoiling our planet then maybe it would be quite OK, but there are endless types of merchandise like such as: clothes

©DISNEY

and accessories, shoes, socks, bags, hats, gloves, scarves, jewellery,

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watches, umbrellas, kitchen, dinnerware, sheets, cosmetics, entertainment, pins, figurines keepsakes, snow globes, costumes and mascots.

Whatever you could imagine that you could possibly need with an applied pattern of some particular cartoon. So you can always keep your “virtual friends” with you. Some people live just surrounded with those items…

And we are somehow forced to see and meet them despite the fact that we would never buy them. How did we get from 2d illustration to 3d mascots walking on the streets?

David Bowie is singing in his song “Life on Mars?”: “It’s on America’s tortured brow That Mickey Mouse has grown up a cow Now the workers have struck for fame ‘Cause Lennon’s on sale again See the mice in their million hordes

©DISNEY

From Ibiza to the Norfolk Broads…”

it has been first released in 1971 and BBC Radio has described it as having “one of the strangest lyrics ever” consisting of a “slew of surreal images” like a Salvador Dalí painting. I am not exactly sure about “surreal image” as it is after 44 years still describing the situation extremely well and in a very “realistic” way… And yes, time to time I am also meeting those Mickey Mouse’s mascots in the centre of Prague. Somehow they are “Watteau’s Pierot” of the time we live in.

There are also adult animated sitcoms. The Simpsons is an American one, created by Matt Groening for the Fox Broadcasting Company. You can buy any kind of marchendize also with those characters. Here is Mr.Burns as a LEGO figure.

© The Simpsons tm

To make business bigger we also already have seen those mutations of Barbie Doll and Disney Princess what we could had seen in basically any toy shop since the time when Walt Disney have started to produce their own dolls. (It is really hard to say if those are better or worse…) And now days you can see mixture of Angry Birds and Star Wars linked to Angry Birds Star Wars game. You meet this mixture in Tesco and you can acquire them as a stuffed toy. Great! What is going to be the next? What about Angry Birds -Batman- Popeye-Barbie Doll in the price of one month

ISSUE # 4/ April 2015

©DISNEY

©DISNEY

salary as all copy-rights will be respected?

BARCELONA

This is not Wonderland, or Neverland or any other land based on pure and in the same time absurd way how can children perceive this word. It is our own sad present and we are surrounded by all of these items we maybe even do not need at all…

There is of course also reaction from artists to this products. Jeff Koons sold his sculpture of Popeye for $28 million. I like his work very much…

Somehow it is so well working with the idea of Oscar Wilde that “All art is quite useless” that art has value because we give it value, and we give it value because of what it does to us… Many people criticize him that it looks like an exact 1:1 replica of the Dark Horse toy. But that is it. That is the point! It is just more polished in the spirit of our time… So what value

© Jeff Koons

do we give to that “original” piece of plastic?

Popeye Sculpture

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Projects/Architecture

Int ers e ctions .

Barce lona l in ks

Author: Marta Jo Juanola, Glòria Serra Coch Nationality: Spanish/Catalan City and date of birth: Barcelona, 04-02-1991 (Marta) - Barcelona, 30-09-1991 (Glòria) WEBSITE: www.lub.upc.edu/bcnlinks/ Function: Working on the link between Barcelona and Esplugues through la Diagonal Site location: Diagonal-Esplugues Year: 2013 Institution: Escola Tècnica Superior d’Arquitectura de Barcelona (ETSAB, UPC) Tutors: Jorge Perea

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diagrams

ISSUE # 4/ April 2015

BARCELONA Process

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Adding Focuses. The urban continuity of la Diagonal can be investigated through, not only a longitudinal structure, but also as an intense intervention in specific areas. This project works on creating two main focuses, born from two important crossroads, and extending and developing a whole area with the aim of transforming a border into hinge.

These two new kneecaps develop a structure of varying different scale,s achieving a system organized as a crossroad that consists of crossroads, simultaneously transforming a nowhere land into a focus of activity.

views

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Articles

A RT BY A P I ECE O F PA PE R …

Author: Electra Safari Nationality: Greek location: Delft, Netherlands/TU Delft, Delft

“a type of thin material produced by pressing together moist fibres and drying them into flexible sheets” PAPER - from Wikipedia, The Free Encyclopedia

Five letters, one word: PAPER. The most common substance wherever we exist. What paper stands for according to our most familiar online encyclopaedia, Wikipedia, is a type of thin material produced by pressing together moist fibres and drying them into flexible sheets.

However, paper can have many distinct uses as it is unimaginably versatile! A paper can be thin or thick, it can have one colour, two colours, numerous colours, it can be size A0, A1, A2, A3, A4, A5, it can be folded 7 times, it can cover a book, a gift, a wall, it can be your world map, your poster, your tissues, your diary, your carpet, it can clean your kitchen, your window, your face, it can be the surface to write your thoughts, to communicate them, to draw, to type, to print on it, to construct a box, an airplane, a boat, a mask, a puppet, a table game, a folder, it can be the mean to generally express yourself, it can be art.

Paper art; the type of art that originated in Japan over a thousand years ago and today is an expanding design field that is hardly ever discussed.

What’s the reason behind that? Simple; it is made of paper and for that we tend to underestimate its value.

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However, to what extent are artworks made of paper a piece of cake as most would think? Sometimes that could be the case when, for instance, remembering of those paper planes we used to construct during our school years. Those flying planes used to be the simplest and easiest form of paper art. Taking things to a slightly higher level, we could refer to the well-known origami art that still impresses. Or we could refer to artworks made simply of colourful post-it notes.

However, there is a minority of creative folks that takes things to a far more challenging level, and prove that paper artworks can be extraordinarily superb! This minority surprises with their ability to literally conjure paper into sculptures, jewelleries, collages, objects, fashion and so on.

Among some of these masterpieces we can distinguish the mesmerising one-sheet sculptures of Nahoko Kojima and the 3 dimensional pseudo realistic paper portraits of Bert Simons, whose naturalness makes someone shudder! Also the paper sculptures of contemporary artist Jen Stark and the spiral works of Charles Clary, consisting of as many as 4,000 individual cut sheets of paper, up to 30 panels, and over 14,000 spacers each, that force the human eye to get lost in endless colourful labyrinths.

These artists greatly confirm why paper designs should grace museums and exhibitions throughout the world.

handcut paper art

Bert Simon - portraits by paper

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Moreover, Yulia Brodskaya, another contemporary artist, entertains our eyes with her provoking 2-dimensional visual fusions, made with such explicit detail. Then Zim & Zou, James Seet and Helen Musselwhite perfectly indicate how to take branding to the next level just by involving paper in your creation.

Zim & Zou - paper-based burger for an Icon Magazine cover

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BARCELONA

And because paper art is not only about observing, Ukranian graphic designer Yurko Gutsulyak won the competition between New Year’s Eve cards with his Dragon greeting card that you wouldn’t avoid noticing! Designed in a truly 3D way, the card can be appreciated from multiple angles.

Similarly, designer Naoki Kawamoto delivered the most fashionably designed item for women, ‘Orisiki’; a smartly folded paper clutch inspired by Origami folding and Furoshiki, a Japanese traditional wrapping cloth which is large enough to wrap and transport goods and gifts. The result looks more like an art piece!

All these and much more artworks from paper take our breath away, surprise and astound!

All these art pieces and designs that unfold the fact that “beside living in a digital era, our love affair with paper has by no means diminished.

Jen Stak’s paper artwork

James Seet’s print advertising campaign for Celcom Broadband

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Cooking for students

R I GATON I LEEK & BACON

Ingredients 100 g rigatoni pasta 1 leek 3/4 mushrooms 50 g bacon 1 teaspoon honey 50 dl cream 1/2 onion salt & pepper Serves 1

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BARCELONA

Author: Devi Petti Nationality: Italian location: Rome, La Sapienza University

Method Take a pan and put the water for the pasta to boil, when it is nearly boiling add a punch of salt wait 2 minutes and add the pasta.

In the meanwhile clean the leek and the mushrooms and cut it in slices. Take a pad, slice the onion and sautĂŠ it into the butter for about 2 minutes, until tender. Add the leek and the bacon and leave it for 5 minutes on a law heat, so add the mushrooms and season.

Leave it on cooking.

When the pasta is ready drain it, reserving a cupful of cooking water and mix it with the rest.

Take the cooking water and in a bowl mix it with the cream and the honey; add it to the pad and mix.

Your pasta is ready, season to taste and enjoy it!

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BARCELONA

How to choose a good leek Look for leeks that have long, white stems. The best size for leeks is medium and they should appear crisp. Prefer leeks that have all or some of the roots still attached. The presence of the roots indicates that the leek is still intact; if the base of the leek has been cut, the flesh begins to dry out.

Why eat leek Leek, from the same family of vegetables as the garlic and the onion, is rich in essential oils which improve digestion. It contains vitamin E and carotene, which are important for healthy, elastic and gentle skin.Contains little fat and sugar, and a lot of cellulose which causes feeling of satiety, and thus it is ideal for maintaining a normal body weight during the winter.

How many times have you not been able to eat because you’re rushing to complete a deadline?

No way, it’s time to eat, unplug everything, take some time off and enjoy food!.

DOWNLOAD THE RECIPE HERE: 3nta.com/rigatoni-leek-bacon/

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Graphics/ Infographics

SHORT H IS TORY OF

EGG CUP

Author: Valeria Loreti, Deepa Parapatt Nationality: Italian location: Rome/ISIA Roma Design Function: Infographic about egg cups USED SOFTWARE: Adobe Illustrator CS6 Year: 2015

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BARCELONA

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Articles

O pe n l etter on th e con d ition of th e int erns in archit e cture offic e s On 19th November 2013, this e-mail was published by www.multitude.eu.

We were asked to remove this document, but we can still tell you that it came from a Pritzker prize winning office, in response to a job application. The applicant was offered an unpaid 3 months student internship, requiring 12+ hours a day, 6/7 days per week. The applicant was no longer a student anymore but the office was keen to make an exception for people who have finished their studies “as long as they accept this role and understand that there is little or no chance of being hired”.

Considering the situation, we couldn’t address directly the office in question, even if their request to remove the e-mail seems to validate its authenticity. Therefore we decided to use this e-mail not as a specific situation, but as a mirror for a much more diffused condition. What is written in the e-mail is in fact happening to thousands of interns around the world.

As members of a project which main purpose is to give dignity and respect to students work, we felt the obligation to say something. We decided to write an open letter to those who are more involved in the system; those who can actually make the difference, and that are somehow related to this e-mail and to the systematic violence it perpetrates.

Dear Architecture employer,

Let’s be honest, we are not stupid. We understand how tough it is to run a business like yours. We can imagine the amount of applications you receive every day and we highly appreciate the possibility you give us to learn from you. We are quite familiar with these situations, and nevertheless in reading such an e-mail we still believe that there is something deeply wrong.

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BARCELONA

An offer like that shows that some of you haven’t learned the most basic rule of having a productive business: shitty working conditions lead to shitty work. Do you really believe that a zombie employee, after 12 hours of forced daily work with absolutely no reward, is going to be efficient and productive? Do you think one is going to give you their full commitment and all their energy? We don’t think so, and Forbes seems to agree with us. (Read on Forbes how to increase productivity by employee happiness here) My dear employer, let’s be serious, “hiring” slaves is not making your business better. You don’t need an expert to understand that with job offers like the one in the e-mail you just perpetrate an absolutely horrible working model, based on ignorance and unhappiness, and makes the world a worse place every day. It doesn’t take into account the only good reason that makes a person work even more than 12 hours a day: passion.

Dear Pritzker prize jury

- Lord Peter Palumbo, Alejandro Aravena, Stephen Breyer, Yung Ho Chang, Kristin Feireiss, Glenn Murcutt, Richard Rogers, Benedetta Tagliabue, Ratan N. Tata, Martha Thorne We highly appreciate your work and we strongly believe that your activity have brought in time dignity and relevance to the architecture practice. However, there is something that we want to tell you and we will do it quoting your own words. As your website states, the purpose of the prize is: “To honor a living architect or architects whose built work demonstrates a combination of those qualities of talent, vision, and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture.”

What does “significant contributions to humanity through the art of architecture” mean exactly? Is it a nice building, sketched by the starchitect of the moment and carefully designed by a team of unpaid young architects working in almost inhuman conditions?

We still believe that an architect can be an inspiration and we really hope that in the future of your award more attention will be posed not only on the individual architectural abilities, but also in the way an architect threats and respects his team and the profession of architecture in general.

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Dear Frank Gehry,

In October 2014, at a press conference in Spain, you replied to the first question with a gesture of your middle finger. We won’t question your reaction but we will just emphasize the fact that such indignation is not usual in famous architects like you, and in that specific case, it is related to the critics you received on your work.

It would be nice if such disappointment would be shown also for the conditions of so many interns and young architects around the world.

We don’t know what you think, but for us a good reply to e-mails like this one is a good old-fashioned Frank Gehry style “Fuck you”.

Dear architecture students and young graduates, It is hard to admit it but we are the most guilty. Job offers like the one in the e-mail are there just because there is always someone willing to accept it. At the end of the day it is just the very basic rule of the market: supply and demand. We control the supply. What do you think it would happen if tomorrow everyone just stops working for free? Would all the main architecture firms stop hiring, reducing enormously the amount of projects they can handle? We don’t think so.

In conclusion dear Architecture students and young graduates, please, please, please, accept any kind of job with minimum salary but stop working for free.#stopworkingforfree

Best Regards, the 3NTA founders and directors

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Graphics/ Posters

ARCHIT E C T URA L

PRO F ILE

Author: Nicola Vecchio Nationality: Italian location: Romagnano Sesia/LAS Felice Casorati WEBSITE: behance.net/nicolaveccd8b8 Function: Poster USED SOFTWARE: Adobe Photoshop CS6 Year: 2015

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Articles/Interview

What do you thin k …?

Author: Rotating editor Barcelona Nationality: Spanish location: Barcelona, Spain/ETSAB; ETSALS; SCAD

INTERVIEWS TO TEACHERS ESCOLA TÈCNICA SUPERIOR D’ARQUITECTURA DE BARCELONA, (ETSAB) UPC ESCOLA SUPERIOR D’ARQUITECTURA DEL VALLÈS, (ETSAV) UPC ESCOLA D’ARQUITECTURA LA SALLE (ETSALS)

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What would you change in the teaching of architecture in your school?

Carlos Alonso (ETSAB): I would recover the system based on annual courses instead of semesters. The semesters, in our university, don’t offer the advantage of having two enrolments each year and therefore, the student doesn’t have the flexibility they should give and, what is more important, the students have a shorter time to absorb the knowledge given by the teachers.

Helena Coch (ETSAB/ETSAV): In my opinion, one of the important things I would change about the teaching in this school is the ratio teachers-students. The amount of teachers is not enough to cover the number of students of architecture in our school. The consequence is a lower performance from the teachers that are overwhelmed by the work and cannot create a convenient classroom environment. Besides, the high number of students also lowers the participation in class as well as the dialogue between teacher and student, a crucial component for students to understand and absorb the concepts properly.

Judit López (ETSAB): I would incorporate a closer relation to the professional practice. During the university studies in this school there are a lot of parts of the real job of an architect that are not explained or even commented at all, and I think that should be improved. One clear example is that students don’t usually go to construction site, which, in my opinion, would be really positive for their formation and development.

Anna Pagès (ETSAB/ETSAV): I would say that the ratio of students – teachers would be a crucial point to improve. The elevated number of students in a class is a negative point for achieving good teaching , therefore, either the number of students should be reduced or the number of teachers should increase to balance this ratio.

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Roman Sarri贸 (Assistant Professor ETSALS): It would be great to have more students, this would enable the school to have more programs and therefore be able to offer a wider range of approaches to architecture. I believe students should find their path through school and make choices so they should be offered a rich palette from which to do so.

John Dutton (USC/ETSALS): I would emphasize the urban context and form in the first years instead of just focusing on the design of the object. This would help students understand that they are never designing in isolation but always part of a built context, no matter if such a context is legible (like Barcelona) or seemingly illegible (like Los Angeles).

Roger Paez (ETSALS): Anything that would contribute to promoting meritocracy and student involvement. Particularly, I think that in the case of Design Studios both professors and students should be able to choose one or the other, at least to a certain extent. One way to achieve this would be to present topic studios publicly and allow students to choose their own career paths. I would also encourage experimental educational formats coupled with high performance expectations for both students and professors. Most important of all, I would argue that Architectural Studies should be formative rather than narrowly informative.

Estanislau Roca (ETSAB): In my opinion, it would be important to place more significance in the education of the student for his/her gain of the right skills and abilities that will make it possible to go on after finishing the degree. An aspect that would help to achieve that would be the specialisation of the student. Specialisation is a very positive aspect in an architects career nowadays because it allows them to be the expert in a field. Being an expert means that you are requested to

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participate in several project due to this expertise, which is valued. Specialisation could be applied by differentiating several field during the last courses of the degree. In this way the student could choose one of the fields and become an expert before finishing the degree.

Another important issue in the improvement of the school organisation would be the introduction of competitions where teachers and students worked together. In this way the expertise of the first ones could be combined with the freshness and new ideas of the students, with very interesting projects as a result. The participation in real competitions would also give the opportunity to students to have a nice c.v. before finishing the degree and the teacher’s participation would also help to achieve more in the earlier time of their career.

Are students important in the progress of architecture?

Carlos Alonso (ETSAB): Essential Helena Coch (ETSAB/ETSAV): Fundamental, students are the most important aspect in the progress of architecture. The students we produce today will be the architects of tomorrow.

Judit López (ETSAB): Clearly yes. The projects of the student have always been a source of inspiration for teachers and architects in general.

Anna Pagès (ETSAB/ETSAV): Yes, for sure Roman Sarrió (Assistant Professor ETSALS): Yes, we all are and should always be students.

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John Dutton (USC/BCN): Students are particularly important in creating active dialogue within the school and the profession. Students should be the ones who are the most critical, probing, questioning, enthusiastic, and engaged group of people in architecture. Being a student is all about asking questions and exploring. This active dialogue will effect the school and the larger architecture community. It will also make students more likely to become good architects, engaged and committed in their communities, instead of just great detailers or grasshopper scripters.

Roger Paez (ETSALS): If universities are the oxygen and professors hopefully are the spark, students are the fuel; without them, there would be no progress in education.

Estanislau Roca (ETSAB): Essential!. The innovation has to come from the freshness of students. In fact, the presence of new ideas coming from the youngest ones is determining for the future of society.

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Project/Architecture

Zoo , know l e d g e s pac e

Author: Alberto Lera Nationality: Spanish City and date of birth: San Sebastián, Donostia, 1983 CONTACTS: albertolera.wordpress.com, issuu.com/alberto.lera/docs/alberto_lera_pfc_zec, Function: Transformation of the Circumvallation Avenue and update of the zoo facilities Site location: Parc de la Ciutadella, BaRCELONA Year: 2012 Institution: Escola Tècnica Superior d’Arquitectura de Barcelona (ETSAB, UPC)

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The origin of the project is based in a process of transformation of the Circumvallation Avenue and the need of updating the Zoo of Barcelona facilities.The new public library, the evolution of “la Estació de França” and the demolition of the Ciutadella Wall, compose a new focus of centrality in the Circumvallation Avenue, where the idea of connecting the park with the sea is reborn. Ignasi Solà Morales describes these spaces as terrain vague, “… the shape of the absence in the metropolis” and claims the value of history and the traces of the time.Zoo, knowledge space in Barcelona

site plan

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intervection area

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SITE PLAN

SITE PLAN

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The project is contemplated as the summary of two principal interventions: a connection above the infrastructures between the Cituadella and the Sea and the transformation of the Circumvallation Avenue to transform it into a public space with the lost urban values and with new uses and functions that update, as well as act as the city and zoo facilities. The Zoo finds itself in the middle of a process of adaptation to the XXI century, when dissemination, education, investigation and conservation are the main pillars of the World Zoo and Aquariums Conservation Strategy (WZACS).

detail

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functional diagramm

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DISTrIBUTION plan

fire plan

VENTILATION plan

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ANALYSIS DIAGRAMs

perspective views

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floor plan

isometric view

floor plan BAY

section

section

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section

BOARDWALK PLAN

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perspective views

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Graphics/ Posters

ArchiC haract e r

Frei Otto

Author: Adriano Gazzellini Nationality: Italian location: Lyon, France WEBSITE: behance.net/adrianogazzellini Function: Illustration Year: 2015

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STAFF

In this issue

Editor in chief Luca De Stefano

communication manager Marco Mattia Cristofori

ART DIRECTORS Giulia Fioravera AGNESE Laguzzi

co-founder Lorenzo Bottiglieri

EDITORIAL STAFF ELENA Monteleone

ROTANTING EDITOR Glòria Serra Coch Marc Roma Trepat Perez Sergi Sauras

WRITERS Anežka Prokopová helena Patelisová Electra Safari

DESIGNERS Silvia Arch Sisquella Marc Capdevila Sitri Edgar Melero Garcia Miquel Vallribera Ramon NICOLA Vecchio VALERIA Loreti DEEPA Parapatt

ADRIANO Gazzellini Alberto Lera

PE O PLE

In this issue

BARCELONA

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