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Contributions by Keller Easterling, Adrià Carbonell, Lluís Ortega, Juan Azulay, Juan Elvira, Ed Keller, Ramon Faura, Camí, Eòghann MacColl, Angela Kay Bunning, Gruff Rhys, Jordi Bernadó.

CRITICAL PRISON DESIGN

The prison is an uncomfortable institution and its architecture is often subjugated to technocratic criteria. Mas d’Enric is a new penitentiary that overturns preconceptions and posits architecture as a medium to critically rethink contemporary prison buildings.

ROGER PAEZ

CRITICAL PRISON DESIGN Mas d’Enric Penitentiary by AiB arquitectes + Estudi PSP Arquitectura

ROGER PAEZ


ROGER PAEZ

CRITICAL PRISON DESIGN Mas d’Enric Penitentiary by AiB arquitectes + Estudi PSP Arquitectura


Since the Catalan government (Generalitat de Catalunya) took over the responsibility for penitentiary matters in 1984, the penitentiary system has been adapting to a profound qualitative transformation in the country, both with regard to staffing and training, and in terms of adequate investment in infrastructures, providing a response to the need for sufficient penitentiary space and addressing the obsolescence of some of the existing penitentiary facilities. In response to these issues and given that penitentiary facilities are a crucial element in the penitentiary system since they are a necessary instrument for implementing actions to effectively achieve the functions of re-education, social reinsertion, and confinement and custody, one of the highlights of the improvement process has been the construction of new penitentiaries that are adapted to current needs. Mas d’Enric Penitentiary, in El Catllar (Tarragona), is a good example. These new penitentiaries have been built with the aim of responding to the principles of rehabilitation and reintegration into society, once inmates have served their sentences, without neglecting aspects of security related to their confinement and custody. All attempts have been made to integrate these large-scale infrastructures into their surroundings by minimizing their environmental and social impact, situating them close to communication hubs and improving their accessibility in terms of distance and travelling time to major population centers. Special care has also been taken in providing the centers with all the necessary services to ensure an organized collective life and an orderly coexistence. In short, we will continue to move forward in this direction to provide organization and infrastructures in keeping with our country’s current needs.

Germà Gordó i Aubarell Minister of Justice Generalitat de Catalunya


Given the needs arising due to the obsolescence of certain penitentiary infrastructures, in recent years the Justice Department has begun building new penitentiaries in order to enact an extensive qualitative transformation and to adapt to the country’s emerging needs, with two fundamental objectives: on the one hand, rehabilitation –the future reinsertion of inmates into society– and, on the other, confinement and custody. As opposed to other penitentiaries in the Spanish state, which are based on a much more standardized model and all prisons are built according to a single design, with minimal variations to adapt to the singularities of each location, Catalonia has opted to build penitentiaries according to its own theoretical model. This model aims to integrate the facilities into their surroundings and to minimize their impact on both a social and a visual level, on the landscape and on the environment. One of the results of this process is the new Mas d’Enric penitentiary, in El Catllar (Tarragona), which is the subject of this book. The basic characteristics of this new element in the penitentiary infrastructure, equivalent in size to the entire Roman town of Barcino or eight city blocks in Barcelona’s Eixample, naturally adhere to all of the specificities of the functional program: security criteria, environmental requirements, limits on specific materials for security and maintenance reasons, building heights, dimensions, capacity, building typology, etc., but the design goes much further. The architectural elements, the functional organization of the center, the security demands, the management of existing vegetation, the adaptation of open spaces inside the center to the natural slope of the terrain, the minimum impact on the existing woodlands in the surrounding areas which are preserved and cared for as a setting for the building, allowing for views of the treetops from the inside, the unified yet not monolithic nature of the whole, the building openings and their geometry, the organization of interior and exterior circulation through the center, are not only a respond to the predetermined uses. They also take into account the perceptions of the future inmates. Whereas the security perimeter is categorical, rectangular and compact, surrounded by the ring road and by redundant security systems, inside, the buildings are organized according a much more open plan, which outlines an extensive interior area for use as communal space. This interior spatial layout is largely developed into a central promenade for daily use, which accommodates interior circulation by adapting to the changing datum of the terrain. It is designed as a continuous open space that allows for easy orientation and monitoring, and it is arranged like public space would be in an urban environment. The green areas, the playing fields and leisure areas, the access courtyard, the cultural facilities and the logistics areas combine to create a continuous perimeter, which generates a large interior space that serves as a central square or promenade. Ultimately, Mas d’Enric is first-class architecture that addresses complex needs and provides them with suitable responses focused on activating the added value that architecture can offer to a penitentiary institution engaged in a continuous process of change and improvement.

Lluís Dalmau i Arbós Assistant Director, Office of Heritage, Construction and Services Justice Department, Generalitat de Catalunya 3


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A User’s Manual: Justification and Singularity of this Building/Book Ricardo Devesa As the editor of this book, I intend to address two questions by way of introduction. Two questions that anyone thinking of buying a book dedicated to a work of architecture should ask themselves before doing any reading-perusing-studying-analyzing. First, why has an entire book been dedicated to this penitentiary? Second, what should we expect from the book’s content? In other words, how should we go about delving into the material that was created and compiled for it? In short, the “why” of this book and, subsequently, the “what”. Let’s look at the first question. What justifies dedicating a monograph to a building in general, and to this building in particular? Would it be enough to say that it provides adept technical and building solutions? No; if that were the case a few pages in a technical magazine would suffice, for example. The same would be true if it were distinguished by its construction process, or its flexible uses, or its ingenious form. In all those cases, a photographic feature would be ideal, which could be distributed via and online platform or a commercial magazine, perhaps. So then, what makes a building deserving of a monograph? Let’s look at some projects that have been the subject of monographs in the past. For example, there is the Yokohama Maritime Terminal, by FOA, or the Seattle Library by OMA/LMN, as well as the Sendai Mediatheque, by Toyo Ito (all published by Actar). These singular designs were the object of an entire book because their overall approach was completely new and they introduced new areas for debate in the discipline derived from their complexity, their spatial configurations, their programmatic organization, their contextual relationships. Moreover, they resolve all of these aspects comprehensively and in a different way than it had been done before. Aren’t these distinctive approaches, which extend beyond familiar solutions, precisely what Mas d’Enric Penitentiary offers? Indeed, Mas d’Enric proposes an original and unprecedented way of addressing the prison program; the design is developed with a regard for the inmates, who are provided with an experience of the outside in the very place that apparently exists to cut them off from it: all of which is addressed using inherently architectural qualities like spatial delimitation, functional organization, and the establishment of a relationship with the environment. Now let’s move on to the second question. How can we gather together all of the architectural value of the building into one print publication? Which material and what content should be used to describe the bravery and singularity of Mas d’Enric? The immediate response that any architect would support would involve a comprehensive compilation of the project’s graphic documentation. Obviously. And that is the case here: a third of the pages are dedicated to drawings and photographs that describe the constituent parts of this large-scale penitentiary complex. 6


All the same, the design information alone would not be enough to really explain its idiosyncrasy. Why not? Because all of the reflection that is distilled into the building is relevant enough to warrant gathering the thought processes that unfolded during the design, in addition to a careful post-construction examination. A number of speculations and critical contributions were developed specifically for this occasion, based on reflections proposed by Roger Paez, one of the project’s architects and author of this book. This block of discursive content is organized as a response to the seven concepts used by the architects as a starting point for Mas d’Enric, and which they gradually refined throughout the design and construction process. The seven keys were: visibility, genealogy, discipline and freedom, totality, vibration, the outside and typology-topology. We have contrasted this reflective section derived from architectural discipline, with one that has nothing to do with it: a third block of content that was prepared transversally and across disciplines. In this case, seven artistic contributions introduce and present different possible readings of the new reality offered by the design for Mas d’Enric. A series of materials were created ad hoc based on the penitentiary, including a model-sculpture, a number of mixed-media assemblages, a literary text, a series of photographic diptychs, a piece of music, an architectural reinterpretation of the design and finally a fictional film, which was shot at the prison. The order in which these three large sections are organized in the book is as follows: the conceptual comes first, then the descriptive, and finally the fictional. This order was chosen because our rational logic demands a presentation of the facts in keeping with architectural process: reflect, design, interpret. However, I recommend that readers begin at the end, like we tend to do with newspapers, because any other possible order for the three blocks is equally fitting. I would even advocate a skipping, disorderly reading of the sub-chapters included in each of the three parts. One way of putting it, I would approach the print publication as though it were a website: jumping from one section to the next, as curiosity dictates. In any case, use this book as if it were a drawer full of material waiting to be discovered, each piece with its own storyline, its own unique perspective and particular observations. Free up the content that has been locked linearly onto the printed page. Don’t settle for the confinement of how this prison’s architecture is presented on these pages. Take apart the content that has been articulated here. Once it’s out of order, then put it back together according to your own vision and understanding. That’s the only way you’ll be able to see why this building deserved its own monographic.

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12— 20—

38— 44— 52— 64— 74— 84— 94—

Mas d’Enric Penitentiary Somewhere Lions Still Roam. Roger Paez CONCEPT Visibilization

Confined. Keller Easterling Genealogy

Walls, Bars, Open Space. Adrià Carbonell Discipline and Freedom

Mas d’Enric, Landscape and Self-awareness. Lluís Ortega Totality

The Coat of the Jaguar. Juan Azulay Vibration

Architecture and the Potential for Effect. Juan Elvira The Outside

Doing Time. Ed Keller Topology-Typology

Stick Your Head Out. Ramon Faura

112— 126— 132— 144— 146— 152— 160— 174— 184— 192—

DESIGN Project Overview Façades Roofs Program External Area Intermediate Area Residential Blocks Cultural and Sports Facilities Solitary Confinement, Infirmary, Kitchen-Laundry-Storage, Workshops Interior Promenade

210— 214— 220— 222— 228— 234—

FICTIONS Escorça. Camí Full Circle. Eoghann MacColl Correspondence. Angela Kay Bunning Breaking and Entry. Gruff Rhys A Nomadic Prison. A i B arquitectes Hic Sunt Leones. Jordi Bernadó and 15-L. Films

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Biographies


Actually, this world isnツエt just one world窶馬ow. As this city is actually layers of cities. Behind the many thicknesses of pain, try to connect with the single will for pleasure that moves even in the violence of streets and beds, of jails and opera houses. Susan Sontag


Mas d’Enric Penitentiary A i B arquitectes + Estudi PSP Arquitectura I. The prison is an uncomfortable institution and its architecture is often subjugated to technocratic criteria. This servility forces the prison out of the sociocultural realm where it belongs, thus erasing it from public discourse. The invisibility of the penitentiary as an institution demonstrates an unresolved contradiction underlying contemporary society. We intend to explore this contradiction through architecture. A prison must respond to the demand for confinement (discipline) and reinsertion (freedom) at the same time. Within this complex framework, architecture can make use of its ability to synthetically articulate problems that seem contradictory to become an active agent in resolving the paradox of the contemporary penitentiary. Based on our experience with the Mas d’Enric penitentiary, we claim the prison as an object of critical design and we reclaim architecture’s role in multiplying possibilities as opposed to limiting them. II. Given very strict programmatic requirements, a series of decisions forges a link between the utilitarian and the conceptual: the construction of an appropriable, non-oppressive environment; the introduction of a maximum number of vectors of exteriority; and the generation of open space that is central both formally and conceptually. Three keys aspects permeate the entire design process and serve as the conceptual horizons that articulate the project: - Totality: Tackling the problem of designing a total environment. - Vibration: Introducing spatial and perceptual diversity - Openness: Celebrating openness in the heart of detention. III. Both typological and topological design strategies are central to the Mas d’Enric Penitentiary project. Typologically, we aimed to move beyond conventional prison architecture by creating a revised mat-building: the prison is extensive in plan and low to the ground. Contiguity eliminates residual spaces between buildings. It also allows for organizational flexibility while generating exterior spaces in the form of courtyards on different scales. Topologically, we propose a topographical adaptation that allows for a gentle integration with the terrain. It creates spatial variety while allowing for the absence of any kind of interior fencing. Distant views of the mountains are made possible by an articulation of the ground level. Views of the adjacent woodlands improve conditions in both the cells and the courtyards. The continuity of the roof works on both a typological and topological level, creating morphological unity for the building and establishing relationships with the large scale of the landscape. The confinement required by the program is not monumentalized; on the contrary, the prison’s architecture faces up to the, perhaps impossible, challenge of creating a genuine home and hearth. 12


13

∏ Project


5: Waterproof polyolefin membrane finish.

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4: Rigid panels for insulation and to support the finishing layer.


3: Galvanized sheet metal edges.

2: Ribbed sheet metal for coverage and bracing.

1: Load-bearing structure of prefabricated galvanized steel, assembled on site.

Roofs � 139


Biographies Paula Arroyo Architect (ETSAM). She has been taking pictures for 25 years, since her initial training with Ángel Baltanás. As of 2006, she combines architectural practice with her work as a photographer. In 2009 she founded OjOvivOfoto, a professional platform for the development and publication of spatial photographic features. That same year, she was awarded the Fundamentos Architectural Photography prize from the Madrid College of Architects (COAM). Her work, both features and personal research, has appeared in a number of publications. http://ojovivofoto.blogspot.com.es

Juan Azulay Film director, media artist, author, and designer. As a director and media artist, he is known for his collaboration work with No Wave legend Lydia Lunch and for his directing work alongside the Oscarwinning cinematographer, Guillermo Navarro. His design work and films have received over a dozen well-known awards in competition and his work has been included in prestigious exhibitions like the 2011 Ville Fertile at Cité de l’Architecture et du Patrimoine in Paris and as part of the permanent collection at the MAK in Vienna. Azulay’s work is produced through a creative practice called MTTR MGMT, where he is the creative director. He teaches graduate, post-graduate and undergraduate design studios at SCI-Arc, as well as Visual Studies. He has also taught at Columbia University’s GSAPP, the University of Miami and Barcelona’s ETSAV. He received a Bachelor of Architecture from Sci-Arc and an M.S. in Advanced Architectural Design from Columbia University. www.ma77er.com

Jordi Bernadó Photographer. His photographs have been acquired for major public and private collections, such as those of Fundació La Caixa, Fundación Telefónica, Bibliothèque Nationale de France, Deutsche Bank Collection, Artium, MUSAC, Fundació Vila Casas, and Banc Sabadell among others. They have also been shown in many solo and collective exhibitions, at venues such as Artist Space in New York, la galerie VU’ in Paris, Galería Senda in Barcelona, Filter Space in Hamburg, Fotografie Forum International in Frankfurt and MAXXI in Rome. He has published more than 20 books focusing on contemporary architecture and landscape, such as Good News* Always Read the Fine Print, Very Very Bad News (winner of the best photography book in Photoespaña 02 and best art book prize from the Spanish Ministry of Culture in 2003), True Loving and other Tales, Welcome to Espaiñ, and Europa, all published by Actar. www.jordibernado.com

Angela Kay Bunning Translator and researcher in Comparative Literature. She holds degrees in Comparative Literature from Columbia University and the University of Barcelona. She earned her Master’s degree in Comparative Literature and Literary Translation from Pompeu Fabra University and is currently developing a doctoral disser-

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tation on Literature and Architecture. She has worked for over ten years as a translator based in Barcelona, touching on a wide variety of texts, including specialized and academic material, in fields ranging from architecture to literary criticism. www.angelakaybunning.com

Camí Sculptor. He is part of a group of sculptors promoted from Paris by Gérard Xuriguera, historian, art critic and international curator of public sculpture. He has shown his work in more than thirty individual exhibitions and over a hundred collective exhibitions. He has public sculptures on display in Catalonia, Portugal, Ecuador, South Korea, Lebanon, Taiwan and Puerto Rico. He has collaborated with interior designers, architects and poets. He has been a professor of Sculpture at the Escola Massana for 33 years. He is co-author of two books on sculpture, La Talla Escultura en Madera and Escultura en Piedra (Ed. Parramón). He is co-founder of TallerBDN in Badalona, a center for creation, production and diffusion of sculpture, which is supported by the Generalitat de Catalunya. http://camiescultor.com/

Adrià Carbonell Architect (UPC), Masters degree in Architecture and Urban Culture from the UPC. Since 2008, he has combined a professional practice in architecture and urban design with research and teaching. He has been awarded the AJAC prize for young architects in the category of theory and criticism three times. Between 2011 and 2013 he lived in the Persian Gulf, where he was a visiting professor at the American University of Sharjah. He currently lives in Sweden, where he is a professor at the Umeå School of Architecture (UMA). www.collectivaa.com

Keller Easterling Architect, writer, and professor. She earned both her B.A. and M.Arch from Princeton University and has taught architectural design and history at Parsons, The New School for Design, Pratt Institute, and Columbia University. She is currently Associate Professor of Architecture at Yale University. She is working on the issues of urbanism, architecture, and organization in relation to the phenomena commonly defined as globalization. Her books include Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005), Organization Space: Landscapes, Highways and Houses in America (MIT, 1999), and a forthcoming book, Extrastatecraft: the Powers of Infrastructure Space (Verso, 2014). www.panix.com/~keller/

Juan Elvira Architect, M.S. from Columbia University. Associated professor of design at the ETSAM and visiting professor at national and international schools. His designs have been exhibited at Freshmadrid and as part of the 11th Mostra Internazionale di Architettura during the Venice Biennale, among others. He was a finalist for the


Norwegian national architecture prize, Staten Byggeskikkpris, in 2012. In addition to his academic and professional career, he also engages in critical and editorial work, which he began as the editor of Oeste architecture magazine and has continued with the publication of numerous essays in specialized books and journals. www.muradoelvira.com

Ramon Faura Musician and PhD in Architecture with the dissertation Arquitectura palimpsest (Versalles l’any 1701). Assistant professor at the Rovira i Virgili School of Architecture, where he teaches History of Art and Architecture. He also teaches courses in architectural theory at ELISAVA and has taught at ETSAB. From 2003 to 2006 he was head writer for Quaderns d’Arquitectura i urbanisme under the direction of Lluís Ortega. He was co-curator, with Santi Ibarra and Antonio Pizza of the exhibition “Arquitectures sense lloc” (2009) at the Centre d’Arts Santa Mònica (Krtu, FAD and CoAC). He regularly gives lectures and writes articles. He also performs live in concert and records music. In 2010, he published the book L’escapçament del cos místic (Lluís XIV vestit de rei).

José Hevia Graduate in Fine Arts (UB). He holds a degree in General Photography from the Catalan Institue for the Study of Photography (IEFC). In 2003, he began work as a photographer specialized in architecture and landscape, collaborating with architecture firms, the press and specialized publications. He was part of the editorial board of Quaderns d’Arquitectura i Urbanisme from 2003 to 2006. He has published the following monographs: 2G nº33 J.A.Coderch 10+1 casas (GG, 2005), 2G nº 56 Ábalos+Sentkiewicz (GG, 2010), Guia d’arquitectura Moderna de Catalunya (COAC, 2007), ARQUIA TEMAS-28 Alejandro de la Sota (2009), Edificio Collage/Rahola Vidal arquitectos (Actar, 2011). www.josehevia.es

Ed Keller Director of the Center for Transformative Media at The New School, and Associate Professor at Parsons The New School for Design. Designer, professor, writer, musician and multimedia artist. Prior to joining Parsons, he taught at Columbia University GSAPP(1998-2010) and SCIArc (2004-09). With Carla Leitão he co-founded AUM Studio, an architecture and new media firm that has produced residential projects, competitions, and new media installations in Europe and the US. His work and writing has appeared widely, in venues including Punctum, Praxis, ANY, AD, Arquine, Leonardo Electronic Almanac, Architecture, Precis, Wired, Metropolis, Assemblage, Ottagono, and Progressive Architecture. He has spoken on architecture, film, technology and ecology internationally. Current research seminars at Parsons include Post-Planetary Design, and The Radical Future of Guitar, a SP14 collab with Ola Strandberg. Ed has been an avid rockclimber for over 30 years. www.aumstudio.org

Eoghann MacColl Visual artist. He has exhibited widely in Scotland and beyond. He has won notable awards such as the Alastair Salvesen Travel

Scholarship and received support from Creative Scotland through opportunities like the Neach-Ealain Lèirsinneach Residency program at Sabhal mòr Ostaig on the Isle of Skye. He also has significant experience in delivering innovative arts projects in the education sector, both in English and Gaelic using the collaborative benefits of the Curriculum for excellence reaching young people in schools and colleges. Currently he is an offender art lecturer at Her Majesty’s Prison Low Moss with the New College Lanarkshire. www.dealbhadair.com

Lluís Ortega Architect (UPC), Licenciate in Philosophy (UB), M.S. in Advanced Architectural Design (Columbia University), and PhD in Architecture with the dissertation Digitalization Takes Command. He is currently an assistant professor at the University of Illinois at Chicago and a visiting professor at the Universidad Torcuato de Tello in Buenos Aires. In the past, he has taught at the UPC, the University of Alacant, Harvard University and the Academy of Fine Arts in Vienna. He cofounded F451arquitectura in 2000. He has served as editor for a number of specialized publications, including as the director of Quaderns d´arquitectura i urbanisme (2003-2005) and editor of Platform GSD (Actar, 2008). He published the compilation La digitalización toma el mando (Gustavo Gili, 2011). He is currently working on the Atlas of Suprarural Architecture with Ciro Najle, on a grant from the Graham Foundation. www.f451arquitectura.com

Roger Paez i Blanch Architect (ETSAB), M.S. in Advanced Architectural Design from Columbia University, where he received the GSAPP Honor Award for Excellence in Design (2000). He is currently a PhD candidate at the UPC in Barcelona. Following professional experience in the studios of Alison and Peter Smithson and Enric Miralles, he co-founded AiB, an architectural studio based in Barcelona. He conjugates his professional career with an intense commitment to cultural and academic pursuits. He served as a member of the editorial board of Quaderns d’arquitectura i urbanisme, awarded the Jean Tschumi Prize (2005). He has been an architectural design professor at Ramon Llull University (ETSALS) since 2000 and has taught in the postgraduate program at ELISAVA since 2006. In the past ten years he has been a visiting professor, guest lecturer or jury member at international universities including Columbia University, Cornell University, Harvard University, University of Southern California and Sci-ARC in the United States and at the ETSAB, ETSAV, BAC and IaaC in Barcelona. www.aib.cat

Gruff Rhys Since 1986, as a songwriter and musician, he has released over 20 albums in both the Welsh and English languages, as a solo artist and as a member of Super Furry Animals, Neon Neon and Ffa Coffi Pawb. He has performed real and imagined concerts on all known inhabited continents of Earth and possibly elsewhere. These adventures have led to further experiments in film, theatre and visual art. www.gruffrhys.com

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Mas d’Enric Penitentiary Paratge Mas d’Enric, 43764 El Catllar, Tarragonès, Catalunya Developer Generalitat de Catalunya (Catalan Government) Justice Department

Construction Company

Office of Heritage, Construction and Services  Lluís Dalmau, Rafa Lopez, Sònia Ayala, Albert Zamora, David Pagerols, Núria Perelló, Raul Gomez Facilities Area and Information and Security Area under the Directorate General of Penitentiary Services  Pedro Domínguez, Faustino Agudo, Luis Moreno, Fran Navarro, Manel Roca, Manel Santander

UTE C.P El Catllar COMSA-EMTE Management Committee: Rosa Maria Pérez,   Eduard Murillo, Daniel Davicino, Manuel Barcina UTE Management: Manuel Barcina Head Site Manager: Luis Miras Area Site Managers: Germán Gomà,   Justo Conejo, Julio Fernández Technical Office Managers: Isaac Muley,   Victòria Martí, Pere Soler M&E services Manager: Manuel Heredia Health and Safety Manager: Francisco Ruiz Heads of Administration: Juan Sariol, Jesús Anglès

Infraestructures de la Generalitat de Catalunya

Design: Francesc Montaner, Anna Valls Construction: David Piera, Maria Carme González Concessionaire Superficiària CP Mas d’Enric: Santiago Arderiu

Surface Area 74.130 m2 construction + 130.163 m2 public space, pedestrian areas and landscaping Budget 113.830.553 € Design December 2005-June 2008 Construction December 2009-April 2012

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Lead Architects (Design and Construction Supervision) Roger Paez i Blanch   (A i B estudi d’arquitectes SLP) Joan Maria Pascual i Cañellas   (Estudi PSP Arquitectura SCP)

Acknowledgements

Collaborating Architects A i B: Iñigo Solano, David Baró, Nicolás Aparicio, Marta Mulà, Luís Arredondo, Jordi Brunés, Gerard Cuartero-Betriu, Eduard Dalmau, Gerard Garcia, Estíbaliz Guitérrez, Jordi Pascual, Arne Schultz-Gambard, Enric Verdú, Sandra Vergara, Cristian Vivas. PSP: Ferran de los Santos, Josep Pérez, Ramon Torrents, Jordi Morató, Enric Palou, Rafel Montsonís, Fernando Morales, Coral Pallarés, Gemma Mercader

Thanks to all of the collaborators for their contributions, texts, artwork and photographs, without which this book could not have been brought to light.

Quantity Surveyor (Bill of Quantities+Estimates, Quality Control and Site Management) TRAM-J. Hierro Associats: Josep Hierro, Jordi Noguera, Xavier Solà, Toni González, Carlos Zornoza, Natàlia Sanjosé PSP: Josep Lluís Pascual, Margarita Daví

Thanks to Joan Maria Pascual, to everyone at AiB+ PSP and to all those who participated in the design and construction process for their dedication, excitement and commitment.

For their specific comments and general encouragement with respect to this book, thanks to Carles Muro, Enrique Walker, Iñaki Ábalos and Bernard Tschumi. Thanks to everyone who helped make this publication possible: Ricardo Devesa, Núria Saban, Angela Kay Bunning, Albert Ferré, and especially Ramon Prat at Actar Publishers. Special thanks to the Justice Department at the Generalitat de Catalunya,  Infraestructures de la Generalitat de Catalunya, Superficiària Mas d’Enric, UTE C.P. El Catllar Comsa Emte, and Manuel Barcina.

Health and Safety Valeri Consultors Associats Martí-Avilés: Jordi Avilés Structural Engineering BOMA: Robert Brufau, Nacho Costales Building Services (Mechanical, Electrical and Plumbing) JG Ingenieros: Lluís de la Torre, Jesús Valle Security Installations Helios Grup: Salvador Tarragó Urban Planning and Public Works (Landscaping, Infrastructure and Urban Engineering) BCN: Joan Antoni Paez, Joan Rovira EGI: Carles Noguera, Vicent Ballester Auding-Intraesa: Josep Secanell

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Published by Actar Publishers New York, 2014 Author Roger Paez i Blanch Editor Ricardo Devesa Contributions Keller Easterling Adrià Carbonell Lluís Ortega Juan Azulay Juan Elvira Ed Keller Ramon Faura Camí Eòghann MacColl Angela Kay Bunning Gruff Rhys Jordi Bernadó

Distribution ActarD New York www.actar-d.com 151 Grand Street, 5th floor New York, NY 10013, USA T +1 212 966 2207 F +1 212 966 2214 salesnewyork@actar.com © of the edition, Actar Publishers and Roger Paez i Blanch, 2014 © of the design for Mas d’Enric, AiB + PSP © of the texts, their authors © of the images, their authors © of the artwork, their authors

Graphic Design Núria Saban

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author.

Printing Grafos S.A.

ISBN 978-0-9893317-7-7

Translation and proofreading Angela Kay Bunning

A CIP catalogue record for this book is available from the Library of Congress, Washington D.C., USA.

Images

Jordi Bernadó and 15-L. Films: 234-241 Institut Cartogràfic de Catalunya: 113, 116 David Baró + Marta Mulà: 167 OjOvivOfoto: 8, 18-19, 39, 45, 53, 65, 75, 85, 95 Roger Paez i Blanch: 226-227 Sònia Pardo i Polo: 210-213 UTE Comsa Emte: 4-5, 10-11, 13, 116 All other photographs by José Hevia

Drawings

AiB: 228-231 Roger Paez i Blanch: 35, 58, 60, 91-93 Caterina Paez-Bunning: 23 Lluc Paez-Bunning: 27, 29 Gruff Rhys+Roger Paez i Blanch: 224-225 Benjamin Rice+Juan Azulay: 72-73 Èoghann MacColl: 109, 206-207 All other drawings by AiB+PSP

Sources

p 42: Brennan/Linsley/AP, 2006 p 89: http://www.museumofcinema.com/museum-ofcinema-the-passenger-1975-exhibit/

Actar Publishers made every attempt to contact the copyright owners for the images published in this book. In some cases they could not be reached; we invite the authors to contact the publisher.


Contributions by Keller Easterling, Adrià Carbonell, Lluís Ortega, Juan Azulay, Juan Elvira, Ed Keller, Ramon Faura, Camí, Eòghann MacColl, Angela Kay Bunning, Gruff Rhys, Jordi Bernadó.

CRITICAL PRISON DESIGN

The prison is an uncomfortable institution and its architecture is often subjugated to technocratic criteria. Mas d’Enric is a new penitentiary that overturns preconceptions and posits architecture as a medium to critically rethink contemporary prison buildings.

ROGER PAEZ

CRITICAL PRISON DESIGN Mas d’Enric Penitentiary by AiB arquitectes + Estudi PSP Arquitectura

ROGER PAEZ

Profile for Actar Publishers

Critical Prison Design  

Roger Paez. The prison is an uncomfortable institution and its architecture is often subjugated to technocratic criteria. “Mas d’Enric” is a...

Critical Prison Design  

Roger Paez. The prison is an uncomfortable institution and its architecture is often subjugated to technocratic criteria. “Mas d’Enric” is a...

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