Design and development of projects and competitions in Spain. Publication in AV magazine: “Rehabilitation of a hayloft in Ojacastro, La Rioja”.
3/2021-8/2023 Architectural Designer at Primary Architecture, NewYork, USA
Design and coordination of innovative residential projects in NYC.
1/2021-5/2021 Exhibition Designer at Magazzino Museum of Italian Art, New York, USA
Design of the exhibition “Nivola Sandscapes” in dialogue with the curatorial department.
2/2020-1/2021 Architectural Designer at Garrison Architects, New York, USA
Design and coordination of Modular Architecture and sustainable design projects in NY.
9/2019-12/2019 Exhibition Design Intern at Solomon R. Guggenheim Museum NY, USA
Participation in the design processes of the exhibitions “Countryside, the future”, “GEGO”, “Kandinsky” and “Learning Through Art” in the Exhibition Design department.
9/2018-6/2019 Teaching Assistant, Dept. of Architectural Graphic Design, ETSAM, UPM Teaching, exhibition design, publications and graphic research.
education
2023-2024 MA in Contemporary Art History and Visual Culture
Autonomous University of Madrid, Complutense University of Madrid and Museo Reina Sofía.
2018-2019 Master’s Degree of Architecture.
Superior Technical School of Architecture of Madrid (UPM).
7/2018-11/2018 Training course for start-ups: UPM
2016-2017 Erasmus Mundus scholarship at ULg, Belgium
2013-2018 Architecture Degree.
Superior Technical School of Architecture of Madrid (UPM).
1998-2013 French Lycée in Bilbao & Technological Baccalaureate at Jesuitas School.
RECOgnitions and awards
2024 Publication of ACTA 9: Un eco del polvo que se levanta. Academic research magazine of the MA in Contemporary Art History and Visual Culture. UAM, UCM, MNCARS. ISSN: 2445-4397.
6/2024 Group Exhibition with the Basque Watercolorists Association Sala Barrainkua, Bilbao, Spain.
2023-2024 Annual Fellowship of the Basque Watercolorists Association. Participation in José Manuel Méndez’s workshops (Mendo).
3/2023 Group exhibition “The extraordinaries” Brooklyn, NY.
Languages French: bilingual (C1, Comission Nationnale du DELF DALF).
English: bilingual (C1, Duolingo English Test: 130).
Spanish: native language
other skills Hand drawing, painting and photography. Member of the Fine Arts Circle of Madrid since 2014 and of the Art Students League of New York in 2023 participating in life drawing and painting workshops.
2 Rehabilitation of a hayloft in La Rioja, Spain. MAAV, Featured in AV.
3 60 Social Housing Units in Bilbao, Spain. 1st price MAAV, Public Competition.
4 Country House and Barn in Hillsdale, NY. Net Zero Design Primary Architecture, NYC.
5 House and Studio for Artists in Hudson, NY. Passive House Design Garrison Architects, NYC.
6 Exhibition Design Projects: “LTA 2020” and “GEGO”. Solomon R. Guggenheim Museum, NY.
theorical projects
7 Ultra-Natura, New biotope in the quarry of San Sebastián. FMP _UD Sancho
8 FactumFest. UD Soriano, Team awarded With Honors.
9 Hotel in El Palmar, Valencia. UD Tuñón
10 Delphi’s Archaeological Museum. UD Campo Baeza
1.
piaule catskill landscape retreat, NY GARRISON ARCHITECTS, NYC. modular DESIGN.
CABIN SECTIONS
CABINS EXTERIOR VIEW
SPA & LODGE SECTIONS
ARRIVAL TO LODGE & SPA
2. Rehabilitation of a hayloft in la rioja, spain MAAV, featured in AV.
WEST ELEVATION, OPEN
WEST ELEVATION, CLOSED
EAST ELEVATION
WINDOW DETAIL
3. 60 social housing units in Bilbao, spain MAAV, 2023, 1st PRICE in public competition
4. country HOUSE with barn in hillsdale, NY PRimary ARCHITECTure, NYC. 2022 net zero DESIGN.
5. HOUSE AND STUDIO FOR ARTISTS IN HUDSON, NY. Annex to a Xviii c. farmhouse GARRISON ARCHITECTS, NYC. 2020, PASSIVE HOUSE DESIGN.
6. exhibition design projects, “Lta 2020” and “gego, Measuring infinity” solomon r. guggenheim museum, NY. 2019
7. Ultra-natura, new biotope in the quarry of san sebastián UD Sancho. 2018-2019 Tfm _final project
At the end of the exploitation of a quarry, a geomorphological restoration plan is always foreseen. This refill plan is developed based on some of the ecology criteria whose dogmas are rarely questioned and that have revealed their own limits and contradictions in cases such as the one of Artxondoko’s quarry (Bolintxu), where the peregrine falcon recently nested. This conflict emerges as a consequence of the power and validity of “the myth of Nature”, studied and analysed by the philosopher G. Bueno (fgbueno.es, tesela 109). With this starting point, we take, as a main idea for the revitalization of Añorga’s quarry, the concept of Biocenosis:
There is a biocenosis, “... where the sum of a community of living species and individuals, being mutually limited and selected under the average external conditions of life, have, by means of transmission, continued in possession a certain definite territory.”
(Möbius (1877), cited by M. Gordon and R. T. T. Forman, Landscape Modification and Changing Ecological Characteristics 1983)
A “biocenosis”, which is associated with a specific biotope, refers to a fundamental factor for its own determination: time. This offers us a possibility of considering the natural environment in a truly committed way, understanding the human being as an entity playing an active role in these biocenosis processes.
As architects we are able to build certain elements of the biotope, so we must consider how we relate there with the rest of the species inhabiting it. Perhaps those exceptional periurbanization enclaves are giving us a possibility to propose a new cohabitation model, more in line with the way we interact with the other species nowadays. The challenge, then, is to inhabit the quarry, to make city in a new way resulting from the territory’s own logics, and understanding its successive transformations as an opportunity.
May the current artists be showing new ways for this reconsideration?
We propose a system of temporary residence towers for artists and researchers and a new International School of the Arts, linked to the Chillida-Leku museum and also financed by the prestigious Hauser & Wirth gallery. These towers, with a minimum surface of contact with the grownd, are stabilized thanks to a series of braces and walkways that are anchored to the quarry walls, optimizing connections between the different activity cores surrounding the plot.
The project is presented as a changing dynamic process, open to the creation of new relationships. Here, the citizens of San Sebastián will enjoy the experience of a large garden in motion (G. Clément, 1994, Le jardin en movement).
Sistema de arriostramiento exterior mediante tubos de acero formando una estructura de malla diagonal
Cable de acero trenzado para izado y soporte de los
1. Sistema de arriostramiento exterior mediante tubos de acero formando una estructura de malla diagonal para absorber los esfuerzos horizontales.
2. Cable de acero trenzado para izado y soporte de los forjados.
3. Forjado de celosía de chapa de acero de 25mm ejecutado in situ.
4. viga exenta de chapa de acero de 25 mm.
10. Carpintería metálica con doble hoja de vidrio laminar bajo emisivo.
5. montante de tubo rectangular de acero para formación de fachada.
11. Cono de fijación del cable de soporte de los forjados al anclaje de planta.
6. panel de chapa de acero ondulada galvanizada.
12. Anclaje de planta.
7. Celosía exterior de lamas de vidrio laminar con factor solar de apertura regulable para control de la ventilación de la cámara de la fachada.
13. Bulón de encuentro de nervios de arriostramiento exterior.
8. Barandilla de acero inoxidable con entrepaños de malla de cable trenzado.
14. tuerca de tensado de los nervios exteriores.
15. Placa de aislamiento térmico rígido.
Sistema de arriostramiento exterior mediante tubos de acero formando una estructura de malla diagonal para absorber los esfuerzos horizontales.
9. solado exterior de celosía de llantas de acero inoxidable.
16. Placa de yeso laminado 13+13mm.
10. Carpintería metálica con doble hoja de vidrio laminar bajo emisivo.
17. Revestimiento ignifugo.
Cable de acero trenzado para izado y soporte de los
Forjado de celosía de chapa de acero de 25mm
viga exenta de chapa de acero de 25 mm. montante de tubo rectangular de acero para
panel de chapa de acero ondulada galvanizada.
11. Cono de fijación del cable de soporte de los forjados al anclaje de planta.
18. Conducto de ventilación de chapa de acero galvanizada.
12. Anclaje de planta.
19. Falso techo de chapa de aluminio perforado lacado.
13. Bulón de encuentro de nervios de arriostramiento exterior.
20. Suelo tecnico de palcas de sulfato calcico 60x60 cm.
14. tuerca de tensado de los nervios exteriores.
21. Aislamiento térmico acustico adherido.
15. Placa de aislamiento térmico rígido.
22. hormigon aligerado 7 cm.
Celosía exterior de lamas de vidrio laminar con factor solar de apertura regulable para control de la ventilación de la cámara de la fachada.
Barandilla de acero inoxidable con entrepaños de
solado exterior de celosía de llantas de acero
16. Placa de yeso laminado 13+13mm.
17. Revestimiento ignifugo.
18. Conducto de ventilación de chapa de acero galvanizada.
e 1: 20
19. Falso techo de chapa de aluminio perforado lacado.
20. Suelo tecnico de palcas de sulfato calcico 60x60 cm.
21. Aislamiento térmico acustico adherido.
22. hormigon aligerado 7 cm.
Celosía exterior de lamas de vidrio laminar con factor
Barandilla de acero inoxidable con entrepaños de
sección POR PLANTAS DE APARTAMENTOS
10. Carpintería bajo emisivo.
11. Cono de al anclaje
12. Anclaje de
13. Bulón de exterior.
14. tuerca de 15. Placa de
16. Placa de 17. Revestimiento
18. Conducto galvanizada.
19. Falso techo
20. Suelo tecnico
21. Aislamiento
22. hormigon
DAVID HOCKNEY AT THE ATELIER FOR ARTISTS
8. Factum fest, venice
ud soriano. 2017, roject Design 7
The project arises as a collaboration with Factum Foundation in order to carry out their high quality art scanning processes along with the Cini Foundation in St. Giorgio Maggiore Island in Venice, as well as a showroom in which they would show their philosophy and working methods to the visitors. It can be easily understood as the result of 4 scales of approaching to the requirements the client had:
e1_Venice: working for a facsimile-creating enterprise in Venice, which has 98 copies all around the world makes interesting investigating the relationship of the “copy” with our proposal, Factum’s activity and the reality of Venice but, how could we translate this into an architectural proposal?
e2_Biennale: Taking advantage of the existence of the Green Theatre as an infrastructure to support musical activities during the Art Biennale, the project holds, an “Off Biennale” series of events carried out by Factum, which will attract some of the most important personalities of the art global scene. This creates the necessity of an entrance, a symbol recognizing the arrival to this summer festival so the first decision is reorganizing the flux of visitors, energizing inner circulations of the island.
e3_Facsimile: From this flux revitalization emerges the image of the concept: As well as the arrival from St. Marcos Square has the image of Palladio’s Basilica, the arrival from the Art Biennale will have the vision of a deconstructed basilica of light based in a carbon fiber vertical structure, that will give continuity to the contour of the masts of sailing ships moored at the piers of the island.
This structure will create spatial facsimiles of St. Giorgio Maggiore inner spaces redistributed according to circulation necessities, using the difference between void and full spaces in the basilica to create circulation spaces and equipped walls with Factum working spaces.
e4_Acoustics and ceramics: Factum working spaces are contained inside the “walls” of the deconstructed basilica, being hold by a series of structural rings that support all of the scanning and visiting activities. As the project is based on a music festival, we were interested on the enfatisation of the acoustics in that showroom.
Joining modern facsimile-creating processes with the tradition of ceramics in Venice construction, we create CNC modeled pieces of ceramics, designed for optimal acoustic behavior. The ring behaves, therfore, as an acoustic shell where Factum actives can be studied in a whole new dimension.
9. hotel in el palmar, valencia Ud tuñón. 2016, project design 5
The concept for this project stems from the idea of the horizon. Due to the physical characteristics of the region, the defining landscape feature of El Palmar is its horizontality and visual continuity along the entire route from the southern exit of Valencia. The Albufera National Park offers an immersive experience of direct contact with nature.
Our intervention area acts as a boundary separating the sea from the salt marsh. This flat territory allows for an elevated perspective, providing a comprehensive view of the surroundings. Specifically, the plot where the hotel is located is embraced by rice fields, making the landscape not only dynamic throughout the year but also inherently local in character.
To enhance this natural resource, we decided to create a seamless continuity between the adjacent plots and ours by flooding our land and situating the hotel on a small hill, elevating it above the horizon line.
The structure of the project features a series of long concrete walls, intentionally oriented to frame the views and capture the light of sunrise and sunset (east and west).
These walls are supported by the deep foundation of the parking area (at the level of the CV 500 road), with continuous footings beneath each wall and along the retaining walls.
Spanning the walls are large beam-pools, each 2.50 meters deep, allowing for significant spans. These beams serve as the central element of the project, highlighting the horizontality of the landscape. Made of reinforced concrete with a ceramic mosaic finish, they will create a play of reflections, softening the light that filters between the beams inside.
10. Delphi’s Archaeological Museum, greece UD Campo Baeza. 2015, project Design 4
Once a vital religious center, in upper central Greece, Delphi has an impressive legacy of greek temples, ancient relics and archaeological sites. It includes the charioteer and the oracle’s Temple of Apollo which are among the world’s most relevant pieces in Ancient Greece heritage. Delphi’s Archaeological Museum will be a new landmark extended up the hillside, boarding the perimeter of the ruins and rooting into them at some points. This location permits to connect the access road from the modern village with the top of the sanctuary.
The project is adapted to the topography of the Mount Parnassus having a subtle impact on the environment and offering a remarkable distinctive image to the ensemble. This effect is achieved by the supremacy of the white concrete ramp in front of the light structure of the enclosed spaces. The building aims to create an alternative promenade through the ruins offering a new elevated point of view. All this increases the attractiveness of the visit while enjoying with the magnificent views.
The indoor spaces are organized in few hanging boxes with independent uses disposed in different points of the ramp after their degree of privacy. The big slats structure sifts the sun to bring natural homogenous diffuse light into pieces.
Thanks to the character of the sculptural pieces exhibited and to the Mediterranean weather, the main part of the museum is open air, consisting on the large path ramp that unifies the entire assembly. This dynamic building offers essentially a promenade starting from the reception stone plane, which conforms a wide public plaza close to the camouflaged parking, to the amphitheater in the highest part of the ancient sanctuary. The airiness and horizontality of this white ribbon emphasize all the qualities of the idyllic setting.
