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PORTFOLIO s e l e c t e d



w o r k s


Diego Grisaleña Albéniz

Master Degree in Architecture, Higher Technical School of Architecture of San Sebastian. ETSASS

(+44) 07756105508 (+34) 661318975






01 2012-2017 Curriculum vitae Plaza de España 04

Madrid, Spain Concept design, open competition AZPML 2016

08 Virtual House

Youpon, China Developed and technical design AZPML 2016

Palazzo del cinema di 12 Locarno Locarno, Switzerland Technical design AZPML 2016

16 There once was... a little house in Deusto Bilbao, Spain Architecture final thesis

ETSASS /2014-2016 / ARQUIA grant 2015


Gernika-Lumo, Spain Public participation process

M-ETXEA architecture colective 2013-2014

34 La Tourette project Art project and business 2013-2017 Bilbaoarte grant 2014

When i was young... 40 Covarrubias, Spain Arts, social and memory workshop Ifac 2013-2014

44 Postcards and so on

Graphic design, publications and arts 2012-2017

Once upon a time 48

Participatory book / Architectural manifesto “What is the future of architecture?” 2012

To be continued...

[Diego Grisaleña Albéniz] [Architect, M.Arch]


Photoshop, Indesign, Illustrator, Autocad, Sketch up, Rhino, Microsoft office and editing programmes of video and audio, Moviemaker and Pinnacle Studio.


Paper and textile serigraph, ceramic serigraph, photoengraving, laser cut design, digital photography


AZPML London Arquia grant in A. Zaera-Polo and M.Llagunos office. 6 months (2016) web: Plaza de España, Madrid, Spain (2016) Architecture and urban planning design for the open competition of Plaza de España. Palazzo del Cinema di Locarno, Switzerland (2016) Construction details for the cinema rooms of the Palazzo del Cinema di Locarno currently in construction. Date of birth: Address: City Telephone: Email: Web:

Virtual House, Youpon, China (2016) Developed and technical design for the Virtual House in Youpon, China. RIBA stages 3 and 4.

11 / 03 / 1987 82 Casino Avenue SE24 9PL London (+44) 07756105508 (+34) 661318975

AZPML website (2016) Management, design and coordination of the new website of AZPML. La Tourette Artistic production and management project with Ana Aldama (since 2013) web:

EDUCATION ARCHITECT (M.ARCH) Higher Technical School of Architecture ETSASS (San Sebastian, Spain) 2016, UPV-EHU,Guipúzcoa.

M-etxea Architecture colective in San Sebastian (2012-2015) web:

ETSAV (Valencia, Spain). 2011-2012, Sícue-Séneca mobility programme.

Berreibar Project, Eibar (2012-2013) Reactivation and enhancement project of the industrial heritage in Eibar (Basque Country, Spain)

Fachochschule Potsdam (Berlin, Germany). 2009-2010, Erasmus mobility programme.

Public participation process in Gernika-Lumo (20132014) Design and implementation of a public participation process for the reactivation of the area of Pasileku in Gernika-Lumo (Basque Country, Spain)


+ Spanish Native language + Basque Level B2 (Fluent) + English Level B2 (Fluent) + German Level B1 (Intermediate)



[2012-2017 Curriculum vitae] [Architecture portfolio]

~ Asm Architecture colective in Valencia (2011-2015) web:

Photography workshop. French Institute, Marie Sommer. 15 hours. Bilbao, Jun 2015.

Intermón Oxfam Valencia (Oct. 2012) Design and construction of the exhibition on land grabbing in Central America in the Turia River Park.

Screen printing applied to the ceramic. BilbaoArte, Iratxe Longás. 30 hours. Bilbao, May-Jun 2015. New contemporary graphics, photoengraving. BilbaoArte, Juan Lara. 35 hours. Bilbao, Nov 2014.

Rototom festival, Benicasim (Aug.2012) Design and construction of the furnitures for the social forum with recycled materials and bioconstruction with cane of the stand of Asm.

Introductory course in cooperation development Engineers without borders. 30 hours. Donostia-San Sebastián, Feb-Mar 2013.


Bellastock[es] self-construction festival. Students Association Madstock. 72 hours. Madrid, June 2012.

URBANBAT festival Bilbao (2014/2015/2016) Preparation, management, design, materialization and diffusion in social networks of the fanzine/magazine made for the meeting of architecture, urbanism and city organized by Zaramari.

Berreibar, public participation workshops for reused process of industrial space. M-etxea colective. Eibar, December 2012. Hondakin, architecture meeting: urban tactics from the rubble Zaramari_hiri ekologia. Bilbao, November 2012.

Olatu Talka, San Sebastián (May 2015) Workshop with ASM and METXEA for the design and construction of a collective hammock with recycled bicycle material.

Bat, architecture meeting for coexistence. Zaramari_hiri ekologia Bilbao, November 2012.

Ifac’14, Covarrubias (Aug.2014) Urban intervention with ceramic tiles with Ana Aldama as a continuation of the workshop in rural context “ When i was young...“ in the festival of art and construction, Ifac2014 in Covarrubias, Burgos.

Ifac2012, festival of art and construction. Self-sufficiency Movement. Villarino de los aires, August 2012.

Ifac’13, Covarrubias (Aug.2013) Tutor with Ana Aldama and Mathilde Lefevre in the urban and social analysis workshop “ When i was young...“ and urban art interventions in the festival of art and construction, Ifac2013 in Covarrubias, Burgos.

International Conference on permanence and transformation in historical areas. Polytechnic University of Valencia. Valencia, February 2012


Aste arkitekturala, ETSASS (Mar.2013) Hammock building workshop with recycled materials during the cultural week of the Higher Technical School of Architecture in San Sebastian.

ARQUIA 2015 grant contest mode Target office: AZPML - A. Zaera-Polo and M. Llaguno


BilbaoArte grant 2014 Production grant of 2014 with Ana Aldama and the artistic project of La Tourette.

Degenerate : feminist workshop. Puerta space, Xara Sacchi. 8 hours. Bilbao, Jan 2015/2016.

Crap is good (Oct.2012) Selected with Ana Aldama for publishing in the participatory book “What is the future of architecture ? “ of Pieterjan Grandry.



Open competition / Park / Urban planning /


[Plaza de España] [Madrid, Spain]

2016 Competition Client / Madrid City Council Area / 50.753 m2 Budget / Undisclosed

AZPML Alejandro Zaera-Polo, Maider Llaguno, Amaya Luzarraga, Federica Campeotto, Taeyoon Kim, Blanca Muñoz, Irene Abellán & Diego Grisaleña


[The restructuring of Plaza de España is a great opportunity to create a big urban park in the city centre that will act as the “green lung” of Madrid. Our proposal wants to create a continuous 100Ha green park that links Debod Park, Sabatini Gardens and the Royal Palace Gardens.] The project aims to illustrate the meaning of public parks inside the city in a moment in time when more than half of the world population lives in an urban setting. Within this context, we believe that parks can have a different role than they used to have in XIXth century cities. It is likely to believe that we have learnt a few things these past centuries by experiencing the parks we live surrounded by.


potential: the Park as an Urban Culture Institution. The way to materialize this new idea of parks embraces the necessity of the reinvention of its own definition. In order to explain the concept of park not only need we project documents but also a time management plan with a communication strategy, as well as cultural and educational objectives that may lead to understand it rather as a museum space.

The park itself, a wealthy and complex ecosystem, is simply described as an expression of Madrid’s own



Invitation / Residential / Construction

[Virtual House]

[Youpon, Zhejiang, China] 2017 Commission Client / Youpon Integrated Ceiling Area / 925 m2 Budget / Undisclosed AZPML (2016 team) Alejandro Zaera-Polo, Maider Llaguno, Amaya Luzarraga, Ivaylo Nachev, Paolo Toldo, Irene Abellán & Diego Grisaleña


[The Virtual House project has its origins in an invitation from Any Corporation in 1997 to design a theoretical residence which explored the idea of the “virtual.” The proposal was a looped band of virtual “ground” which acted both as a ground and an envelope for a series of seamlessly interconnected “rooms.” The geometrical system was based on two interconnected Moebius loops, whose geometry was rigorously determined by pragmatic considerations.] ~ The structure was deliberately exploring a multi-levelled organization where the discontinuity between levels was challenged. The project was originally designed to sit within a natural landscape —any landscape— with whom it would engage in a sort of mimetic play, as if the house was formed by a singular fold of the local landscape, and could become a seamless continuation of the landscape. A large amount of the house walls are therefore entirely glazed, enabling the continuity between the inside and the outside landscape, where

the residential functions float contingently, vaguely contained in 5 lobes of space which are entirely transparent towards the North and the South sides. The project had a canonical ambition: to become a sort of late-capitalist alternative to the Farnsworth’s House where the architecture has become pliant yet specific, and where the repetitive orthogonal modern grid has been replaced by a polyrhythmic spatial singularity.

South elevation

Section A-A’

Section B-B’

Level 1

Level 2


Longitudinal section SL01

Ground floor

First floor


Winning Submission / Culture & Leisure / Construction

[Palazzo del Cinema di Locarno] [Locarno, Switzerland] TBC Completion Client / Locarno city council and Stella Chiara fundation. Area / 6,500m2 building + 2,000 m2 public realm Budget / CHF 30 million AZPML (2016 Team) Alejandro Zaera-Polo, Maider Llaguno, Amaya Luzarraga, Ivaylo Nachev, Federica Campeotto, Paolo Toldo, Sami Yakhlef, Blanca Muñoz, Irene Abellán & Diego Grisaleña.


[Our proposal for the future Palazzo del Cinema di Locarno aims to build a physical structure that will constitute the urban identity of the Locarno Film Festival. The project aims to bring together the infrastructural needs of the Locarno Film Festival, the preexistent physical structure of the Palazzo Scolastico and the Piazza Remo Rossi to synthesise a structure which will capture the presence of the Film Festival within the city of Locarno.] ~ The Locarno Film Festival does not have yet a recognisable home within the city, and the complex of the Palazzo Scolastico and the Piazza Remo Rossi represents a great opportunity to encrust the Film Festival within an urban structure which has already deep affective relations to the Locarno citizens, and a significant presence in today’s cityscape.

affection for the Palazzo Scolastico –which used to host the local schools and now hosts a variety of NGOs and community associations. There are two primary aims in our project: - Economy of resources through urban recycling. - Consolidation and rebranding of the public identity of the Palazzo del Cinema di Locarno.

Our proposal is guided by principles of economy, trying to capitalise in the existing structure and the public

Before and after general plan

Facade detail

Before and after general section


Plans Sala 1

Sections Sala 1


The main hall under construction. July 2016 / Hall principal en construcciรณn. Julio 2016.

Locarno palace after finishing the demolition of its interior. July 2015 / El palacio de Locarno una vez finalizado su vaciamiento. Julio 2015.

Architecture final thesis / Arquia grant / Heritage / Memory / Fairy tale

[There once was... a little house in Deusto] [Achitecture Final thesis] Diego Grisaleña / Tutor: Ezequiel Collantes ETSASS 2014 - 2016


[There once was a little house in Deusto that since 1908 tells us the story of a neighborhood and its inhabitants. This project was born because of curiosity. Because I wanted to find out why this little house was still standing in my suburb. A suburb of Bilbao, Spain, but a suburb that could be in any other city. My thesis explored the artistic, social and architectural boundaries of a site of my neighbourhood within the context of a fairy tale.]

~ There once was... a little house in my neighbourhood.... the neighbourhood that I left nearly ten years ago and to which I have only just returned. A neighbourhood in a medium-sized city, with a (quite recent) industrial past, now dominated by tourism and the service sector. A typical story of our times and that in this case belongs to Bilbao.

“archaeological remains” from the neighbourhood and as well as our own identity. During the first two weeks of September 2015, the little house was demolished. It disappeared… ...and that’s why I tell its story, I turn it into a tale and I make it fly. Because in stories, these kind of things are allowed and I want to allow myself to dream and make the little house fly. And I ask you to do the same; to know it, to form part of its story, and to fly. Because stories, just like history, are things we write together. We are the protagonists and we have the responsibility of choosing how they end.

I have chosen this house as my architecture final thesis project mainly for two reasons. In the first place, I wanted it to be something useful for my neighbourhood and secondly, I wanted to do a project flexible enough to go from urbanism to architecture, from urbanism to history, from history to art, from art to the object, from the object to the street, and so on and so forth... But above all reasons, I also wanted it to be something real.

~ “ There once was a little house in my neighbourhood... ~

As part of the strategy I used for the project, the following points stood out: knowing, documenting, participating and claiming. This strategy aims to value this

South elevation

West elevation

North elevation


East elevation

@Etxetxoa Fb/Deustuko etxetxoa


Lehendakari Aguirre Avenue elevation

[ A neighbourhood in a mediumsized city, with a (recent) industrial past, now dominated by tourism and the service sector... ...My neighbourhood, not too long ago, was a rural town of taverns, shipyards and workshops. There was a town square, with its town hall, its church and, of course, its bandstand.]


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Block of buildings E-e’ section


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[ There’s not much left of any of that. The town hall disappeared, consumed by the big city. The square was split and the bandstand torn down, a major road built right through it. The bars remain, but they’re different now.

And like a silent witness to all these changes, a little house...]



@Etxetxoa Fb/Deustuko etxetxoa



Interior de una de las aulas correspondiente al edificio del Kindergarten / Inside image of one of the classrooms in the kindergarten building.




Lateral de acceso rodado a la plaza interior de la casita desde la avenida Lehendakari Aguirre / Lateral road access to the interior square of the house from the Lehendakari Aguirre Avenue.

02> 08 > >

Imagen del interior de la sala correspondiente a siestas en el edificio del Kindergarten / Interior image of the siesta room in the building of Kindergarten.





Plaza interior y parte trasera de la casita construida en 1908 con su espectacular y típica balconada / Interior square and back of the house built in 1908 with its spectacular and typical balcony.



04 >


05 Imagen interior de una de las aulas reformadas en los 90 por el colegio “Virgen de Nazaret” / Interior image of one of the classrooms renovated in the 90s by the school “Virgin of Nazareth”.

07 Plaza interior y fachadas principales del pabellón de Kindergarten inaugurado en 1936 / Interior square and main facades of the Kindergarten pavilion opened in 1936.

06 Imagen interior del núcleo de escalera de la casita situado en un lateral / Inteior image of the house staircase located in one of its laterals.

08 El edificio del Kindergarten cuenta con un grado de protección C y es de estilo racionalista. / Kindergarten building has a C heritage protection degree and its style is rationalist.


[During the first 2 weeks of September 2015 the little house was demolished. It disappeared.. ... and because of that that I tell its story, I turn it to tale and make it fly.]




@Etxetxoa Fb/Deustuko etxetxoa

~ [And suddenly, just as it dessapeared, it returned. Again. a night of September from the 7th to 8th, the little house came back, but now it was different.]



~ [It was a large empty stone...

...just floating some meters over the same place where the little house was before ]


~ [Little by little the great little stone house was filled with content, people and dreams.

... the little house was once again inhabited and became the home of all the neighbours of Deusto.]



@Etxetxoa Fb/Deustuko etxetxoa


During the first 2 tember 2015 the demolished. It

... and because story, I turn it to ta Because in tales allowed and I wan to dream and

...And I invite you know it, to be pa to



Because tal as history, by all of us, protagonis have the resp choose




2 weeks of Sepe little house was disappeared...

e of that I tell its ale and make it fly. these things are nt to allow myself d make it fly...

u to the same, to art of its story and fly.



wn ur o o y , ld [Bui le house air litt in the w it ly!] f t thro i make and

les, as well are written we are their sts and we ponsibility to its end.



@Etxetxoa Fb/Deustuko etxetxoa


The days, months and the little house again and In Deusto, at No. Agirre, in its pare the earth an



and years passed, e did not disappear remained. 1 of Lehendakari enthesis, close to nd to the sky.


Informe final del proceso de participaciรณn ciudadana del Pasileku. Final report of the public participation process in Pasileku. Link /

Public participation process / Urban planning / Recovery

[PASILEKU public participation process in Gernika-Lumo] [Gernika-Lumo, Basque Country, Spain] M-ETXEA Arquitecture Colective Nagore GoĂąi & Diego GrisaleĂąa 2013-2014


[The public participation process for the area of Pasileku in Gernika-Lumo, Basque Country, was designed in three parts; after a preliminary analysis of the reality of Pasileku and the town, rounds of open workshops of diagnosis and proposal followed up in the process. The final dossier contains all the processes and the different agreements about the uses that Pasileku would collect.] The Pasealeku of Gernika-Lumo, well known as Pasileku by Gernika inhabitants, is located in the heart of the village, and in recent years the area lost its appeal and was also even abandoned.


Due to a lack of initiative by the public administration of Gernika, Spain, the public participation process around Pasileku was born with the purpose of creating a common project for the building and the urban space around it. M-etxea arquitecture colective leads the public participation process redefining the factors that will make the Pasileku a useful and attractive place for citizens again.

During the workshops mentioned above, we valued the opportunities offered by the area. Eventually, it was agreed that the Pasileku was be the ideal place to provide new services for all citizens around the Town Culture Centre, as well as improving the ones existing that had serious deficiencies. Nowadays the Pasileku working group (who helped us during the development of the project) continues working with the process, proposing a reflection on the area of the square.








~ [The Pasileku has had various uses since 1885. In the past it was an school for boys and girls and now it has a senior citizen´s social club, the headquarter of a dance group, some Basque Government offices and an indoor playground. Nowadays one of the latteral buildings is empty.


El Pasileku ha tenido diferentes usos desde 1885. Ha pasado de ser escuelas de niños y niñas a acoger en sus dependencias una casa del jubilado, la sede de un grupo de baile, oficinas del gobierno vasco y un txikipark. Hoy en día uno de los edificios laterales se mantiene vacío.]

~ 01

03 04



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Casa del jubilado / Senior citizen home.


Sede grupo de baile Bihotz Alai / Bihotz Alai dance group headquarter.


Oficinas del Berritzegune del Gobierno Vasco / Berritzegune Basque Goverment offices.

04 05 @Pasileku

ss ce o pr

Txikipark / Private playground. Edificio vacío / Empty building.

Imagen de un de los laterales de la plaza del Pasileku correspondiente al edificio de las antiguas escuelas. / Image of one of the sides of the square of Pasileku with the building of old schools.

Rueda de prensa comienzo fase diagnóstico. / Press conference at the beginning of the diagnostic phase.

Se hicieron entrevistas previas con agrupaciones de Gernika para recoger su opinión y una campaña para comunicar el inicio del proceso / Previous interviews with groups of Gernika were conducted to collect their opinion and a campaign to communicate the beginning of the process was started.

Primer taller fase diagnóstico. / First workshop of diagnostic phase.

Los grupos estaban formados 4-5 personas y durante los talleres abiertos hubo la asistencia de más de 50 personas. / The groups were formed by 4-5 people and the open workshops were attended by more than 50 people.

Los talleres de propuesta trataban de repensar el Pasileku teniendo en cuanta sus características, las necesidades de Gernika y sus usos actuales. / The workshops tried to rethink the Pasileku keeping in mind its characteristics, the needs of Gernika and its current uses.

Los talleres constaban de una presentación inicial, trabajo en grupo de diferentes dinámicas, puesta en común y valoración. / The workshops got an initial presentation, group work using different dynamics, sharing and evaluation.

Tanto el propio proceso como sus resultados se discutieron y consensuaron de manera pública dando como resultado el informe final. / Both the process itself and the results were discussed and agreed and reflected in the final report.

Self-Publishing / Exhibitions / Events / Workshops / Urban interventions

[La Tourette project] [Art project and business]

Ana Aldama & Diego Grisaleña 2013 - 2017

~ [La Tourette was born from the need of sharing our (and our friends) creative concerns. After almost four years of experience, La Tourette is an artistic project jumping from analog to digital, from object to the street, social and in continuous evolving.] ~ La Tourette is a syndrome but, don’t worry, it’s not serious. It is typically expressed through uncontrollable twitches and, believe me, we have them. And not only us but also many of our friends, acquaintances and strangers. This project is conceived as a collective remedy and a showcase for all those creative TWITCHES we cannot avoid and we like so much.

people, more than 250 of them, in the 9 issues published to date (plus 7 other versions). And La Tourette is not just a fanzine. It is also a form of merchandising, with the aim of financing the printing and free distribution of the fanzines. There are also urban interventions and exhibitions which get the fanzine onto the street and change the experience of how it is read. There are also workshops, self-publishing fairs and markets allowing us to explain the project and get to know about similar initiatives. And also, above all, it is an excuse to have fun and share our TWITCHES and creative concerns. LA TOU RE TTE.

All in a reduced and compressed format. More specifically, an A3 sheet (in its beginning, on A4) manually folded in the form of a medical prospectus and distributed free every 3 months. Each fanzine focuses on a theme and is constructed with the participation of many

12x12cm size cardboard boxes cut by laser and handmade serigraphy designed for collecting the fanzines / Caja de cartón de 12x12cm realizada con corte laser y serigrafía manual, diseñadas para coleccionar los fanzines.



ay pl

Self-Publishing / Exhibitions / Events / Workshops / Urban interventions

Video de explicaciรณn del proyecto de La Tourette para Bilbaoarte en marzo de 2014. / La Tourette presentaton video for Bilbaoarte in March 2014. Link video in spanish /


[One of the essential points of La Tourette is the participation and diffusion of the content. The project invites to participate and share artistic expressions through fanzines, exhibitions, workshops, events or art interventions in the street.]


Video de explicaciรณn del proyecto de La Tourette para Bilbaoarte en diciembre de 2014. / La Tourette presentaton video for Bilbaoarte in Decembre 2014. Link video in spanish /



“El Ombligo de la Chicha” / Impresión digital sobre papel y cola celulósica / 3 x 4.5 m / Ifac 2013 “The Belly button of La Chicha” / Digital printing on paper and cellulose glue / 3 x 4.5 m / Ifac 2013

Workshop / Rural context / Memory / Urban intervention / Enhancement

[“When I was young...”] [Art and memory worshop]

Ana Aldama, Mathilde Lefevrè & Diego Grisaleña International Festival of Art and Construction, Ifac 2013-2014


[In August 2013, we organized a workshop called “When I was young” in the festival of art and construction of IFAC in Covarrubias (Burgos) that lasted ten days. The workshop tried to value the daily memories of the different people who attended through art and urban interventions. This was possible thanks to the participation and collaboration of the inhabitants of Covarrubias and all the people who took part in the workshop.] The purpose of the workshop was to know Covarrubias, its inhabitants, to know who they were, to rescue their pieces of memory and to represent all this through the construction of art interventions. We celebrated daily life for those ten days, recovering rural memories and of course, having fun. Our project was carried out using the following strategy:


bias through interviews, photos, etc. and walking a lot around the village. 3/ VALUE / To value and visualize the simplicity through urban art interventions in different parts of the town. Most of these were ephemeral interventions made with paper and cellulose glue and that today surely no longer exist. In 2014 we briefly returned to Covarrubias to make a more permanent construction with ceramic tiles.

1/ LEARN / To know the village, their background, their customs, their way of living and interacting with each other. A couple of tours around the town were taken where we talked to people, we entered their houses, we got lost, and then we were all one big family for ten days.

4/ CELEBRATE / To celebrate the moments spent together and in order to thank all the people who participated, we organized a big party in the main square Plaza de la Infanta Urraca. VIVA US!

2/ DOCUMENT / To look, to listen, to document and to archive the memory of the inhabitants of Covarru-

12x12cm size ceramic tiles with handmade black ink serigraphy / Baldosa cerámica de 12x12cm con serigrafía manual de tinta negra



Postcards / Collage /

/ Photoengraving / Screen printing / Poster / So on

[Postcards and so on] [Graphic design, publications and arts] Diego GrisaleĂąa 2012 - 2017

~ [In the past, I did not usually write or send postcards, let alone making them by myself. But one day, more than five years ago, I changed my mind and I started not only to use them, but to make them myself too. Postcards, engravings, posters, videos, objects and art interventions are nowadays part of life...]




Masustegui Herria. Postal de cartón reciclado y collage manual 2015. Masusteguie es un barrio muy especial de BIlbao que fue construido por inmigrantes gallegos en los 50. / Masustegui Herria. Recycled cardboard postcard and manual collage 2015. Masustegui is a very special suburb of Bilbao that it was built by galician inmigrants in the 50s.

En el 2012 empecé a realizar y mandar mis propias postales. Cuando comencé vivía en el el barrio del Cabanyal en Valencia. Puro mediterráneo, puro folklore. Y este barrio me enseñó a ver y valorar mi pripio folklore de otra manera. Cabanyal Herria (pueblo en euskera). / In 2012 I started to make my own postcards and send them. When I started i lived in the district of Cabanyal in Valencia. Pure Mediterranean, pure folklore. And this neighborhood taught me to see and appreciate my own folklore in other way. Cabanyal Herria (country, village in basque).



Los collages digitales representan a los habitantes de distintas ciudades donde he vivido y su rostro es sustituido por símbolos o edificios característicos. Juego con la identidad y el folcklore e intento darle forma de auténtico nativo . / Digital collages representing the inhabitants of different cities where I have lived and their face are replaced by symbols or characteristic buildings. I play with identity and folklore and try to build an athentic native.

~ [Collage is my language, whether it is manual or digital collage. In fact, I imagine the cities as a great collage. I started creating these “characters” to inhabit postcards that I sent to my family and friends. I normally use photoengravings these days, but I cannot wait to see what the future will bring!]


Fotograbado en plancha de cobre de 15 x 21 cm del collage de Bilbao citizen / Photoengraving copperplate 15 x 21 cm collage Bilbao citizen.

Fotograbado en plancha de cobre de 15 x 21 cm del collage de San Sebastian citizen / Photoengraving copperplate 15 x 21 cm Collage Bilbao citizen.

Fotograbado en plancha de cobre de 15 x 29,7 cm del collage de Bilbao citizen . / Photoengraving copperplate 15 x 29.7 cm collage Bilbao citizen.

Cartel La Tourette Nº3#CADÁVER EXQUISITO - 2013 / Poster of La Tourette Nº3#EXQUISITE CORPSE - 2013.

Cartel La Tourette Nº5#NEGRO - 2014 / Poster of La Tourette Nº5#BLACK - 2014.

Cartel La Tourette exposición Nº6#POSTALES - 2014 / Poster of La Tourette for the exhibition of Nº6#POSTCARDS - 2014.

Cartel La Tourette Nº6#POSTALES - 2014 / Poster of La Tourette Nº6#POSTCARDS - 2014.

Cartel La Tourette para el fanzine #BAT EDITION 2014 / Poster of La Tourette for fanzine #BAT EDITION - 2014.

Cartel para evento La Tourette 2015 / Poster for the event La Tourette 2015.

Cartel La Tourette #BILBAOARTE EDITION - 2014 / Poster of La Tourette #BILBAOARTE EDITION - 2014.

Cartel La Tourette Nº7#UN SEGUNDO - 2015 / Poster of La Tourette Nº7#ONE SECOND - 2015.

Cartel grupo de danzas vascas Bihotz Alai - 2015 / Poster for the group of basque dances Bihot Alai - 2015



Fairy tale / Open call / Competition / Architectural manifesto

[Once upon a time]

[ ‘What is the future of architecture?’ participatory book] Text and drawings: Ana Aldama & Diego Grisaleña Translation: Iraide Talavera Crap is good 2012


[Once upon a time, there was a place where houses were inhabited by people. Houses where people could live, share and rest. One day, the value of those houses or, more precisely, of the pieces of the land where they were built on, increased. ] This event aroused the greed of some of the people who lived there, and made them think that the more they built on the same site, the more profit they would make. But the land was soon exhausted and they needed to search for more. Because the price of the land kept rising, they went on building: “Surefire profit!” “Early retirement!” Houses were no longer places to live. They were empty, because nobody could afford them. They also ceased to be places to rest. How could people relax with so many debts?



Fast, without even noticing, most of us got involved in the game of trading, speculation and greed. Grey people populated our cities. But, just like in every game, only a few people win and many more lose everything, except for those who decide to get out on time and follow other rules.



They were the first to realize the absurdity of what we were doing. They simply hit the street, looked around and saw, paid attention and listened, took a breath and felt. Very few were the first to be aware of the damage done. Some time later, there were a few more. And so the days wore on, and more and more people woke up from their dream of greed and realized that the damage they had caused was not irreparable, that there was a solution.


Changes began slowly, in the form of small signs. The first disgruntled few joined together, combined their forces and took the first steps bysharing their knowledge and experience. Associations and groups outside the system came into being. They re-used deserted places and turned them into areas of knowledge, creation and assembly. Social networks did the work

of loudspeakers. The idea of how immoral it was that empty houses and homeless people had to coexist started to gain strength. “Let’s stop building!” “We need people!” “Let’s re-use the spaces we have!” Houses were restored and then rented out according to each individual’s income.



Soon, neighbouring communities began to organize themselves. They claimed the rooftops. They installed wind turbines and solar panels. They planted urban vegetable gardens. Old trades were recovered, recycling factories sprung up and barter networks were created. We became aware of our environment and responsible consumption enjoyed a surge in popularity.

The city changed. Public transport was improved and those still using cars were penalized. Thanks to that, it was possible to recover public spaces, previously taken up by roads and car parks. Roads were replaced by green areas, playgrounds, by places for rest, leisure and reflection. The seeds of change toppled governments and changed systems.

Is this just a tale?

~ Thank you! ~

Diego Grisaleña / Architecture Portfolio 2012-2016  

[Concept design / Open competition / Developed and technical design / Architecture final thesis / Public participation process / Art project...

Diego Grisaleña / Architecture Portfolio 2012-2016  

[Concept design / Open competition / Developed and technical design / Architecture final thesis / Public participation process / Art project...