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Exhibition Catalogue MODEL 2022
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99 imaginaris FUNDACIÓ ENRIC MIRALLES
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Index CONTENT
PG 4
99+IMAGINARIS
PG 6
DRAWINGS
PG 10 - PG XX
08014 ARQUITECTURA
PG 10
ANNA & EUGENI BACH
PG 12
ARCHIKUBIK
PG 14
ARETI MARKOPOULOU
PG 16
ARIADNA PERICH CAPDEFERRO
PG 18
ARQUITECTURA SANA + LALIPU
PG 20
BAILO RULL MANUEL Y ROCA
PG 22
BEATRIZ MINGUEZ DE MOLINA
PG 24
BENEDETTA TAGLIABUE EMBT
PG 26
BRUNO SEVE
PG 28
BURR
PG 30
CARLA JUAÇABA
PG 32
CATERINA MIRALLES
PG 34
CARLOS FERRATER OAB
PG 36
CHRIST & GANTENBEIN
PG 38
DIEGO CARRILLO MESSA / CELOBERT
PG 40
ELENA CÁNOVAS
PG 42
ENRIC BATLLE I JOAN ROIG
PG 44
FEDERICO TAVERNA / BAUKUH
PG 46
GABRIELA CARRILLO + CAROLINA ANDRADE
PG 48
GUILLERMO SANTOMA
PG 50
HARQUITECTES
PG 52
HAMED KHOSRAVI
PG 54
JOAN TRIAS DE BES - TDB ARQUITECTURA
PG 56
JORDI GARCÉS ARQUITECTE
PG 58
JORGE MARIO JAUREGUI
PG 60
JOSE MARIA TORRES NADAL
PG 62
JOSEP BOHIGAS
PG 64
JOSEP FERRANDO
PG 66
JOSEP MIAS + JUDIT LECLERC + JAIME COLL + CARLA BLANCH
PG 68
JUAN MICIELI JUERGEN MAYER
PG 70 PG 72
JULI CAPELLA
PG 74
KATHRIN GOLDA-PONGRATZ
PG 76
LAGULA ARQUITECTES
PG 78
LAURA P. SPINADEL BY URBAN MENUS
PG 80
LUIS URCULO
PG 82
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MAYORGA+FONTANA ARQUITECTURA
PG 84
YOUNG & AYATA - MICHAEL YOUNG/KUTAN AYATA
PG 86
MONICA BERTOLINO
PG 88
NÁBITO ARCHITECTS
PG 90
NUA ARQUITECTURES (MARIA RIUS RUIZ, ARNAU TIÑENA RAMOS I FERRAN TIÑENA GUIAMET) VORA (PERE BUIL I TONI RIBA)
PG 92 PG 94.
OCTAVI MESTRE I SOFIA SIMIONI
PG 96
OFFICE KERSTEN GEERS DAVID VAN SEVEREN
PG 98
OLGA FELIP
PG 100
OLGA SUBIRÓS I 300.000 KM/S
PG 102
PAU BAJET (BAJET GIRAMÉ)
PG 104
PERIS+TORAL ARQUITECTES
PG 106
POINT SUPREME ARCHITECTS
PG 108
QUERALT GARRIGA GIMENO
PG 110
RASHEED JALLOUL
PG 112
“ROS+FALGUERA ARQUITECTURA & OSMIN AVALOS ARCHITECTURE” SANDRA BESTRATEN
PG 114 PG 116
SÍLVIA MARTÍNEZ PALOU
PG 118
TALLER MAURICIO ROCHA
PG 120
TERESA BATLLE PAGÈS
PG 122
TON SALVADO
PG 124
VICENTE GUALLART
PG 126
YAIZA TERRÉ
PG 128
ZAIDA MUXÍ MARTÍNEZ
PG 130
ZULOARK
PG 132
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MODEL FESTIVAL 2022 (ROGER PAEZ & ELISAVA, OJO ESTUDIO, FLEXO ARQUITECTURA, MAIO, LE ATELIER)
PG 134
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Content “99+ Imaginaries” invites architects from around the world to speculate on the future of Barcelona through a drawn manifesto. Each drawing is the representation of an idea, a vision, a model, a sketch for the future of Barcelona and, in some cases, the Barcelona of the future.
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Introduction 99 + IMAGINARIES / FUTURE BARCELONA
MODEL 2022
Thinking about the city’s future is part of modern Barcelona’s DNA. Ildefons Cerdà’s Eixample Plan (1859) is the first major proof and living embodiment of that, so far-sighted even in transformation. León Jaussely was commissioned to amend the Cerdà Plan in 1905 and to imagine a more monumental, hierarchical Barcelona very similar to the garden city. With the GATCPAC and the avant-garde movements of the 1930s, Barcelona once again intensified its desire to plan a functional, technological and egalitarian future, in which even the concept and form of today’s superblocks was already present. The boldest proposal was the “City of Rest and Holidays” project (1933-34), located on an 8-kilometre strip of coastline, from the Llobregat Delta to the Castelldefels escarpment. A large number of publiclyrun social facilities were proposed for this people’s city of leisure and exercise. At the same time, Nicolau Maria Rubió i Tudurí, from his eclectic and independent perspective, invented a “Future City” between Plaça d’Espanya, the port and the airport, in line with the ambitions of the International Exhibition of 1929 and inspired by the Italian futurists, Hilberseimer’s Vertical City of 1927 and the skyscrapers of Chicago and New York. The tense lethargy during the Franco dictatorship had exceptions, with unrealised projects such as the rows of rationalist blocks of cheap housing dating from 1949
by Mitjans, Moragas, Tort, Sostres, Balcells and Perpiñá; the imagination of water, light, colours and music by Carles Buigas; or the technological experiments of the 1960s, which left a fragment of a megastructure and city in the air, Walden 7, handcrafted in Sant Just Desvern, directed by Ricardo Bofill and engineered by Anna Bofill. And then the Barcelona model, laboriously conceived at the dawn of democracy and implemented with the impetus of the 1992 Olympic Games, which embodied this desire for a contemporary and democratic city, starting by dignifying and expanding spaces, and creating public facilities in neighbourhoods. This intention and need to rethink the city’s future is still alive today. With the vision suggested by this call for drawings, with radical imagination and optimism, drawing architectures that allow us to redefine the conditions of our present and thus open ourselves up to the possibility of different, more equitable and fairer futures. These proposals come from architects of very different generations, who have imagined fragments of a future Barcelona, from the city itself and from many other cities. A rethinking that follows very different and complex paths, scales and strategies, but which also tends towards greening, neighbourhood scale and proximity, the emphasis being on diverse ways of life, on affordable housing, and the search for alternatives. This is the invitation to debate.
EXHIBITION CURATORS: EVA FRANCH I JOSEP MARIA MONTANER ASSISTANT CURATOR: GUILLEM ROSAL DESIGN: CATERINA MIRALLES I JACK ISLES SPECIAL THANKS: BENEDETTA TAGLIABUE I LA FUNDACIÓ ENRIC MIRALLES, ETSAB (ESCOLA TÈCNICA SUPERIOR D’ARQUITECTURA DE BARCELONA UPC) MODEL ARTISTIC DIRECTION: EVA FRANCH I GILABERT, BETH GALI, I JOSE LUIS DE VICENTE MODEL COORDINATION: MONTSE DOMINGUEZ IGLESIAS F
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MODEL 2022
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Imaginaries
Partecipants
Sandra Torres i Adrià Guardiet (08014 Arquitectura), Anna & Eugeni Bach, Archikubik, Areti Markopoulou, Ariadna Perich Capdeferro, Arquitectura Sana + Lalipu, Bailorull Add+ Arquitectura, Beatriz Minguez, Benedetta Tagliabue EMBT, Bruno Seve, BURR, Carla Juaçaba, Caterina Miralles, Carlos Ferrater, Christ & Gantenbein, Diego Carrillo Messa (Celobert), Elena Cànovas, Enric Batlle i Joan Roig, Federico Taverna Baukuh, Flexo Arquitectura, Gabriela Carrillo i Carolina Andrade, Guillermo Santomà, Harquitectes, Hamed Khosravi, Joan Trias de Bes (TdB Arquitectura), Jordi Garcés, Jorge Mario Jauregui, Jose Maria Torres Nadal, Josep Bohigas, Josep Ferrando, Josep Mias + Judit Leclerc + Jaime Coll + Carla Blanch, Juan Micieli, Juergen Mayer, Juli Capella, Kathrin Golda-Pongratz, Lagula Arquitectes, Laura Spinadel, Luis Urculo, MAIO, Mayorga+Fontana Arquitectura, Michael Young i Kutan Ayata, Monica Bertolino, Nábito Architects, NUA Arquitectures, Pere Buil i Toni Riba (Vora), Octavi Mestre i Sofia Simioni (Mestre Arquitectos), Office KGDVS, OJO Estudio, Olga Felip, Olga Subirós i 300.000km/s, Pau Bajet, Peris + Toral Arquitectes, Point Supreme, Queralt Garriga, Rasheed Jalloul, Roger Paez ELISAVA, Ros+Falguera i Osmin Avalos Architecture, Sandra Bestraten, Silvia Martinez Palou, Takk, Taller Mauricio Rocha, Teresa Batlle Pagès, Ton Salvadó, Vicente Guallart, Yaiza Terré, Zaida Muxi, Zuloark.
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08014 arquitectura, Sandra Torres, Adrià Guardiet
MODEL 2022
49 Vents
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We don’t believe that constructing future scenarios for Barcelona city should be based on sweeping utopian ideas but rather the opposite, by detecting and updating good practices from our past. The current context means knowledge buried by modernity’s ‘bargain’ version should be recovered without delay. For example, the airy rooms and galleries of Barcelona’s residential architecture were emblematic enough to survive until the 1940s, when new construction systems were imposed, as they were less costly in terms of time and money.
redrawn on a 7x7 matrix, of the vents in 49 residential buildings constructed between 1857 and 1936, located within a 500m radius of our studio, in the neighbourhood of Hostafrancs. A specific perspective that tells us about generic aspects of our city’s architecture and the society that promoted it, an antidote to loss of memory and opening the way towards a more sustainable architecture and city.
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One of these elements was the ventilated or Catalan roof, which consisted of two coverings, a horizontal, interior one, made from wooden beams with ceramic joists, and an exterior one, on a 6% to 8% gradient, made up of three layers of flat bricks on cockloft slight wand. The air chamber was ventilated by means of two opposing façades, establishing cross air currents that prevented the transmission of humidity and radiated heat into the building’s interior. This cross ventilation was increased by vents: the visible side of this passive control system, which is no longer in use. The vents, integrated into the coping of the façades of Barcelona’s residential architecture at the end of the 19th and beginning of the 20th century, not only show the existence of a ‘Catalan-style’ roof, but are also a sophisticated registry for a time and place: order and ornament, industrial production and craftwork; material reasons, technologies, thermodynamics; political ideology, social status. ’49 vents’ is a rapid-fire compilation carried out during three walks on 23, 24 and 25 April 2022, taking photographs, which were later
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Anna & Eugeni Bach
MODEL 2022
“No Title”
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Greening the city is one of the best ways of alleviating urban overheating. Nature and city; how can we attain the perfect balance? What is the limit?
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Arkiubik
MODEL 2022
Recréixer
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There are as many cities as there are citizens. As many cities as there are forms of urban life that coexist. We think that cities are human beings, animals, plants, air and water, in short, they are not things and houses, they are superimposed lives. Any city is an open, living, changing and complex ecosystem. Any city is also a cluster of intangible realities such as dreams, poetry or joys and sorrows. It so happens that in Barcelona’s case, everything that cannot be bought or invented converges: an exceptional climate, a privileged geography between the sea, the mountains and two rivers, and a thousandyear history. rich in stories. FEM
Everything else can be manufactured, constructed or deconstructed, planned and designed. It is a matter of firm will and shared dreams, of looking far and feeling close. It is time to anticipate, to dialogue and to dare. Therefore, to REGROW the city means evoking yearnings for new dreams to arise, planting seeds for new landscapes to grow, cultivating ideas so that collective intelligence and co-creation flourish.
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Areti Markopoulou
MODEL 2022
Edible Barcelona
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Amidst the current crisis of public health, climate change and social inequality, it is becoming clear that the fragility of our supply chains calls for new forms of local sourcing and production. Buildings and cities will become more productive and less energy consuming, and for that, biology, agriculture and technology are key elements that need to be incorporated. Food is the number one resource we need to integrate as part of our critical urban infrastructure, just like roads and cars used to be. In order to feed the growing population for next decades we need to increase food production by 70% and the solution is to find complementary and alternative ways to the traditional periphery-based production that drives habitat destruction, biodiversity loss and deforestation.
Food production should be brought back into our city fabric.
Edible Barcelona questions the extractive, consumtive and contaminating nature of the built environment and envisions an architecture that produces resources, digests its waste and connects communities for local food production in an active way. From ground production of edibles in former streets from which cars have been removed, to vertical urban orchards that can be attached to building skins and be managed and co-designed with the local communities, Edible Barcelona implements new growing and breeding practices that enhance novel ecosystems in cities.
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Ariadna Perich Capdeferro
MODEL 2022
1996. BARCELONA. 2022
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‘1996.BARCELONA.2022’ is a psychogeographic map in analogue collage format, made from own and appropriated fragments from images of Barcelona and the five (+one) houses I have lived in. A personal reflection about the city itself and domestic areas as a nomadic, mutant territory of experiences and vindication, through an atemporal representation with diffuse boundaries, which places people and intimate portraits at the centre of the debate on what cities and houses of the future should be like.
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Arquitectura Sana + Lalipu
MODEL 2022
Barcelona Biodiversa
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The Barcelona of the future is integrated with nature. It is a biodiverse city. The streets have swapped cars for vegetable and fruit gardens, tended by local residents. In this new landscape, the paving is drained, and the trees grow freely, breaking up the regular nature of the Eixample. Children enjoy greenery and clean air, and grow up in a dynamic atmosphere, in contact with nature.
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Bailorull Add+ Arquitectura
MODEL 2022
La Torre Barcelona
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1- The Sustainable City will be the Dense City 2- The Superblocks define a new layout over the Eixample. 3- The new pedestrian hubs are an opportunity to densify the eixample (extension) and define a new building typology: The Barcelona Tower
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A habitable infrastructure for hybrid social and private housing programmes with public facilities located on the edge of the Eixample (such as the Torre Urquinaona designed by Bonet Castellana)
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Beatriz Minguez De Molina
MODEL 2022
Biofilia
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A visual metaphor for a city of the future that has a more symbiotic relationship with nature. Sea water as a symbol of the planet – which is blue – and as a symbol of our own nature – which is 70% water. A woman as a symbol of the city of Barcelona.
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Past, present and future.
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Benedetta Tagliabue con Estudio EMBT
MODEL 2022
Barcelona As your Home City
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A collective image of Barcelona
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All cultures come into contact along the length of Av de la Diagonal, representing the city of Barcelona not only as a geometric work but as a world. This vision is a collage of the people who come from different places, who interpret the grid, adapting and moulding it in their own way. As citizens of the city we mould our city by living in it.
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Bruno Seve
MODEL 2022
Intangible
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Peace and quiet, with the soft cooing of pigeons. A dog is startled by the sudden metallic noise of a blind going up. Shortly after this, the florist brings out some pots containing exquisite bird-of-paradise flowers. My sketching quickens with the smell of coffee. The sound of footsteps is interrupted by a bicycle bell in the distance. Other establishments start opening for the day. The neighbourhood wakes up. A conversation about rising prices fades away in the growing distance, now covered up by the characteristic sound of a scooter running over the tarmac. It’s gone. The barber smiles at me. We say hi. He jokes and politely asks me to come back another day to sketch his shop. A few rays of sunlight break through the leaves of the mandarin tree and finally warm up my cool hands. The neighbourhood pulses. My sketching grows faster. Children’s laughter and shouting burst into the public space. Footsteps, doorbells, voices and laughter now form a pleasant murmur that guides the unfinished drawing towards completion. Designing a fair and sustainable future entails observing, understanding, reinforcing and reinterpreting the complexity of an urban reality and its community life with its fragile balance. Morning in Calle Marià Aguiló.
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BURR
MODEL 2022
Bad Weather
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Three-dimensional scanning is a folding process, rather than the generation of a solid volume. The surfaces that make up these bodies can be stretched and distorted to create a certain type of shape. This process always assumes that the available data of the element to be represented is incomplete, so that gaps must be stitched and filled. The degree of interpretation used by algorithms or other devices to build up complete bodies is very high, which means that it is altered by external inputs. While part of the representation is based on data shown on a picture, most of it is pure fiction. In Duty Free Art Hito Steyerl refers to this process as “objectification”.
or dry fields in yellow colours instead of the green forests and fields we are shown. Pretty Earth associates beauty with late spring, a pretext for clearing the skies of any visual interruption, the main victim of which are clouds. The absence of clouds ensures greater definition and control over the represented area. The extension and influence of the digital mapping devices generate an ultrasharp vision of the world; a high-definition environment of seemingly canonical perfection. A perfect environment generates fewer questions than one with a certain degree of uncertainty, where dissonance and diversity show alternative paths. The city we claim is a more imperfect city, a city in lower definition, with gaps and spaces of uncertainty, which demands new answers and alternative solutions to the predominant narrative. A less pretty city, a more cloudy reality.
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Nowadays our relationship with the city is largely influenced by some form of digital mapping interface. These applications help us to move around the city and to consume a large part of what it has to offer. The relationship is so intense that these maps clearly condition the image we have of a city, given the capacity they have to represent its shape, extension, activity and many other qualities human senses cannot visualise as a whole. The image we have of an urban space today has a lot to do with what is shown to us on our mobile devices. But how accurate is that image?
Pretty Earth is a concept used by Google Earth developers to explain the selection of the overlapping pixels in the satellite images that make up the global figure we see on a screen. Pixels are selected to match one another and avoid a patchwork effect, providing a uniform view of the territory. Under this pretext, pixels showing meteorological disturbances or those taken during colder or less humid seasons are also removed, which would show for example deciduous plant species without their leaves
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Carla Juacaba
MODEL 2022
“900 mil huecos”
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Submission for the exhibition 99+ imaginaries, Fundació Enric Miralles in collaboration with MODEL 2022. Drawing by Carla Juacaba.
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Caterina Miralles Symphony of Future Barcelona
BARCELONA
MODEL 2022
The compliance is essential, of course; the preservation of his 60s liberal self-image depended
upon his ‘not really believing’ in the auditing A polymorphous punk-funkadelia
DISORDER
processes he so assiduously enforced. What ‘Being realistic’ may once have meant predeconstructed coming to this disavowal by trap,depends upon is the distinction terms with of areality experienced as solid and between inner subjective attitude and outward flirting with collapse and chaos, immovable. Capitalist realism,however, entails behavior I discussed above: in terms of his subordinating oneself to a reality that is infinitely inner lethargy, subjective attitude, the manager is hostile, so close to stasis and plastic, capable of reconfiguring itself at any even contemptuous, towards, the bureaucratic moment. We are confronted with what Jameson, so graceless, procedures he supervises; but in terms of his in his essay ‘The Antimonies Of The Postmodern’, outward behavior, he is perfectly compliant. Yet it thereinitwhich stands, the Barcelona. calls ‘a purely fungible present space andfuture is precisely workers’ subjective disinvestment from psyches alike can be processed and remade at will’. auditing tasks which enables them to continue to The ‘reality’ here is akin to the multiplicity of perform labor that is pointless and demoralizing. options available on a digital document, where no Mark Fisher Capitalist Realism - is there no decision is final, revisionsBut are always and in its refusal of in its possible, very grace, alternative? pg 59. any previous moment can be recalled at any time.
embarrassment, a euphoric shattering of what used
The middle manager I referred to above turned adaptation to this ‘fungible’ reality it into a fine to be the social, art. He asserted with full confidence a story cityand haditsto grow the impersonal, the smart, about thethe college future oneto day - what the implications of the inspection were likely to the fast, be; what senior management was thinking; then is anpropound attempta of interrupting for literally every the nextinteraction day would happily story that directly contradicted what he previously a little while the digital twitch of matrix 2.0 and its said. There was never a question of his repudiating the previous story; it was as if he, only dimly perpetual attention drift. remembered there ever being another story.
La tensa letargia duratare la dictadura How we - franquista va tenir excepcions, amb projectes no realitzats, whoracionalistes are not a d’habitatge we com les fileresWe de blocs econòmic de l’any 1949 de Mitjans, Moragas, How are we to hear this now? Tort, Sostres, Balcells i Perpiñá; les imaginacions d’aigua, llum, colors música How ican wede Carles Buigas; o els experiments tecnològics dels anys 60, que varen We who can no longer be a we deixar un fragment de megaestructura i ciutat a l’espai, artesanalment construïda, a Sant Just Who instead identify with the I of interactivity Desvern, el Walden 7, dirigit per Ricardo Bofill i estructurat perWho Anna Bofill. circulate in spaces, which no matter how populous, are always
(I know I already suffer from that)
This, I suppose, is ‘good management’. It is, also, perhaps the only way to stay healthy amidst capitalism’s perpetual instability. On the face of it, this manager is a model of beaming mental health, his being a hail-fellowAnwhole ocean of radiating technologically imposed interactions well-met bonhomie. Such cheerfulness can only strolling downof Neo-Via-Laietana, be maintained But if onewhilst has a near-total absence any critical reflexivity and a capacity, as he had, I couldn’t predict it: to cynically comply with every directive from bureaucratic authority. My phone got stolen, yet again.
I el model Barcelona, laboriosament pensat als
only ever MySpace,
ON PLANTS OR THE ORIGIN OF THE WORLD
We barely speak of them and their name escapes us. Philosophy has always overlooked them, more out of contempt than out of neglect.1 They are the cosmic ornament, the inessential and multicolored scroll accident that reigns in the margins of the cognitive field. The contemporary metropolis views them SANS SOLEI Surrounded by a deformed urban biota, as superfluous trinkets of urban decoration. ... scroll Meanwhile, I have no difficulty with local Outside the city walls, they are hosts—weeds—or merely be called natural, In Apocalypse Now, Brando saidita can few definitive earthquakes. But I must say that last night’s quake objects of mass production. Plants are the always and incommunicable sentences: “Horror has a face helped me greatly to grasp a problem. seagulls are gobbling its fellow bird companions, open wound of the metaphysical snobbery that and a name... you must make a friend of horror.” .. of the repressed, of defines our culture.scroll The return Poetry is born of insecurity: wandering Jews, To cast outthe the horror has atired nameof andgrowing a face only And palmthat trees, from their which we must rid ourselves in order to consider quaking Japanese; by living on a rug that jesting you must give it another name and another face. ourselves as “different”: rational humans, spiritual designated areas, have to isexpand nature ever ready to pull out from under them Japanesesquared horror movies have the cunning beautydecided beings. They are the cosmic tumor of humanism, they’ve got into the habit of moving about in a of certain corpses. Sometimes one is stunned growing from the cracks next to unused phone cabins, the waste that the absolute spirit can’t quite manage world of appearances: fragile, fleeting, revocable, by so much cruelty. One seeks its sources in the to eliminate. The life sciences have neglected of trains that fly from planet to planet, of samurai Asian peoples long familiarity with suffering, that a “piece of resistance” them, too.* “Current biology, conceived of on fighting in an immutable past. That’s called ‘the requires that even pain be ornate. And then comes scroll ... the basis of our knowledge of animals, pays no Their existence is the between theimpermanence natural andof things.’ the reward: the monsters are dialogue laid out, Natsume attention to plants”— “the standard evolutionary Masako arises; absolute beauty also has a name Marker Sans Solei - minute 58:43 theChris man-made. literature is zoocentric.”2 And biology manuals and a face. approach plants “in bad faith,” “as decorations on But the more you watch Japanese television... the the tree of life, rather than as the forms that have On the front of El Periodico: more you feel it’s watching you. Even television allowed the tree itself to survive and grow.”3 newscast bears witness to the fact that the magical The problem is not just one of epistemological function of the eye is at the center of all things. It’s deficiency: animals, we identify much more election time: the winning candidates black out the BCN 2050 - A different year, a“asdifferent immediately with other animals than with plants.”4 empty eye of Daruma—the spirit of luck—while (not so brave new) world. In this spirit, scientists, radical ecology, and civil losing candidates—sad but dignified—carry off society have fought for decades for the liberation their one-eyed Daruma. of animals;5 and affirming the separation between The images most difficult to figure out are those human and animal (the anthropological machine of Europe. I watched the pictures of a film whose of which philosophy speaks)6 has become soundtrack will be added later. It took me six commonplace in the intellectual world. months for Poland. By contrast, it seems that no one ever wanted to question the superiority of animal life over plant
Block.
life and the rights of life and death of the former over those of the latter. A form of life without dodignity, we it does not seem to personality andHow without deserve any spontaneous empathy, or the exercise Whose dreams already come to us trademarked of a moralism that higher living beings are capable of eliciting.7 Whose every desire has been pre-formatted by capital Our animal chauvinism8 refuses to go beyond How do we respond to this? “an animal language that does not lend itself to a relation to plant truth.”9 a sense, antispecies How doesInBarcelona respond to this? animalism is just another form of anthropocentrism and a kind of internalized Darwinism: it extends human narcissism to the animal realm. With the condescension of good sense, Plants are untouched by this prolonged the maturity of proper adjustment, negligence:they affect a sovereign indifference toward the human the culture of we world, are a toxic combination of ideology and terror, civilizations, the succession of domains and ages. polyamorous threesomes with better versions of ourselves, Plants seem absent, as though lost in a long, deaf, chemical dream. They don’t have senses, but they Barcelona is a primordial broth of fear and ego. are far from being shut in on themselves: than plants do. They don’t have the eyes or ears that may have allowed them to distinguish the forms Inside the illusion of a dreamed collectivity, of the world and to multiply its image through the iridescence of colors and sounds that we give it.10 They participate in the world in its totality in everything they meet. Plants do not run, they cannot fly... Emanuele Coccia - Life of Plants pg 3-4
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des de la seva mirada independent i eclecticista, inventava una “Ciutat futura” entre la plaça d’Espanya, el port i l’aeroport, en sintonia amb les How, under the tyranny of ceaselessly circulating opinion, ambicions de l’exposició Internacional del 1929 i inspirant-se en els futuristes italians, la Ciutat Freedom of speech, sentenced by followers, subscribers, retweeters Vertical de Hilberseimer del 1927 i els gratacels de Chicago i Nova York.
NOTE
THE OVERLAP OF ONE REALITY WITH ANOTHER’:
CAPITALIST REALISM AS DREAMWORK ANDMEMORY
Whilst they the living proof inicis of nature’s constanti implementat readaptation. de la democràcia amb l’impuls MODEL FESTIVAL 99 +are IMAGINARIS del Jocs Olímpics del 1992, va plasmar aquest process we’ve stopped adapting ourselves Pensar el futurIn de the la ciutat forma of partbecoming de l’ADN human, desig de ciutat contemporània i democràtica, de la Barcelonatomoderna. El Pla d’Eixample començant dignificarour i estendre els espais, ito per suit our environment, and have insteadperadapted environment d’Ildefons Cerdà (1859) n’és la primera gran prova crear equipaments públics als barris. suit usviva, … tan previsora i en i la plasmació encara Avui segueix viva aquesta intenció i necessitat transformació. Per esmenar la plana a Cerdà, León (¡ and behold to see whatdeanrepensar environment become !) visió el futur dehas la ciutat. Amb la Jaussely va rebre l’encàrrec el 1905 d’imaginar que suggereix aquest crida de dibuixos, amb una Barcelona més monumental, jerarquitzada i imaginació i optimisme radical, dibuixant unes pròxima a la ciutat-jardí ,. arquitectures que ens permetin redefinir les Amb el GATCPAC i les avantguardes dels anys condicions del nostre present i amb això, obrir-nos 30, Barcelona va tornar a intensificar el seu desig a la possibilitat de futurs diferents, més equitatius de planificar un futur funcional, tecnològic i i justos. Unes propostes que venen d’arquitectes igualitari, en el que fins i tot el concepte i la forma de molt diverses generacions, que han imaginat de les superilles ja hi era present. I del qual la fragments d’una Barcelona futura, des d’ella proposta més valenta va ser el projecte de Ciutat mateixa i des de molt diverses ciutats. Un repensar de Repòs i de Vacances (1933-1934), situada en que segueix camins, escales i estratègies ben una franja de 8 quilòmetres de costa, des del Delta diverses i complexes, però que també tendeix del Llobregat fins a l’escarpat de Castelldefels. vers la renaturalizació, l’escala del barri i la En aquesta ciutat popular de l’oci i l’exercici s’hi proximitat, l’èmfasi en els diversos modes de viure, proposava una gran quantitat d’equipaments de en l’habitatge assequible, en refer la ciutat i en la gestió pública i socialitzada. recerca d’alternatives. Aquesta és la invitació per debatre. Al mateix temps, Nicolau Maria Rubió i Tudurí,
SYMPHONY OF FUTURE BARCELONA - A DYSTOPIAN VISION TO GENERATE QUESTIONS. IF TECHNOLOGY WAS THE ANSWER WHAT WAS THE QUESTION? THIS SMALL ESSAY IS A GRÀPHIC AND VISUAL POEM THAT TRIES TO CAPTURE THE CHAOTIC AND DISORGANIZED SENSATION OF THE FUTURE BARCELONA. BARCELONA 2050 IS A PRIMORDIAL SOUP OF INSECURITIES AND EGO, WHO FLIRT WITH CHAOS AND COLLAPSE, AN OCEAN OF TECHNOLOGICALLY IMPOSED INTERACTIONS
SYMPHONY OF FUTURE
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Symphony of Future Barcelona - A dystopian vision to generate questions Technology was the answer but what was the question? This small essay is a graphic and visual poem that tries to capture the chaotic and disorganised sensation of the future Barcelona. Barcelona 2050 is a primordial soup of insecurities and ego, who flirt with chaos and collapse, an ocean of technologically imposed interactions, yet you weren’t able to predict it:
FEM
Your phone got stolen, yet again.
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Carlos Ferrater / OAB
MODEL 2022
Gate Away From the Sea
BARCELONA’S GATEWAY FROM THE SEA The construction of a lift is proposed, passing under the viaduct of Barcelona’s coastal ring road, that would pick up visitors from cruise ships and the Port as well as bus and coach passengers from the ring road itself. A stop would also be provided on the sharp bend in the road that goes up to Miramar. All of them would access the gates of the castle via a final walkway, from where they could visit the different facilities, parks and gardens on the hill at Montjuïc. It would also be possible to create an intermediate stop that would lead to Barcelona’s old lighthouse which has already been renovated. Two large 100-person elevators, surrounded by two spiral staircases similar to Bramante’s ones in the Vatican Museum, would allow easy access to the upper level and a safe evacuation route.
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The eastern side of Montjuïc facing the Ronda Litoral (coastal ring road) and the port has a steep cliff and a profile degraded by erosion. It passes between the beautiful cemetery and the themed gardens of Costa i Llobera. You could say that it is the contrasting section or the extrados of the Botanical Garden’s transept.
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The construction of a lift is proposed, passing under the viaduct of Barcelona’s coastal ring road, that would pick up visitors from cruise ships and the Port as well as bus and coach passengers from the ring road itself. A stop would also be provided on the sharp bend in the road that goes up to Miramar. All of them would access the gates of the castle via a final walkway, from where they could visit the different facilities, parks and gardens on the hill at Montjuïc. It would also be possible to create an intermediate stop that would lead to Barcelona’s old lighthouse which has now been renovated. Two large 100-person elevators, surrounded by two spiral staircases similar to Bramante’s in the Vatican Museum, would allow easy access to the upper level and a safe evacuation route.
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Christ & Gantenbein
MODEL 2022
Rain Water Tower City
RAIN WATER TOWER CITY
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38/XX
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Our vision for a sustainable and stable Barcelona is therefore simple, almost archaic, and elementary: throughout the city, rainwater will be collected on the roofs and streets and pumped into large water tanks using solar energy (the Eixample is particularly well suited). These rainwater towers will be distributed throughout the city centre like large trees growing out of courtyards, and function as storage tanks during the dry season. That is how we envision an urgently needed new urban infrastructure for the future. The great changes in architecture and urban planning often resulted from optimism and progress on the one hand, and wars and climate change on the other. Ideally, the new would not only be a sign of resistance or resilience but would also embody an architecture that expresses hope and idealism.
cities in the late 19th and early 20th centuries as industrialisation took hold. Today, our society is at a decidedly different point. We are no longer quite sure what progress might embody. Is it still going forward? Or are we, perhaps, on a path that is taking us backwards? Can we survive at all in these future cities? Many foresee the end of the big city. In our vision, we take a more optimistic stance. We believe in the future of the city and in its growth. But it will be a different kind of growth; organic and from within the city itself. We present a vision of a new urban ecosystem that will continue to supply Barcelona with water. We picture the big water towers and imagine how they will ensure survival and promote new life by providing water to people and the city, like plants. We envision regeneration based on a new urban eco-infrastructure. Our vision is born out of necessity – but it is also beautiful and hopeful. RAIN WATER TOWER CITY: A (somewhat fragile) optimistic sign of progress in the rather sombre sky above the city.
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A vision both beautiful and threatening: above the roofs of the famous Cerdà blocks, we see immense water towers rising into the sky. Like medieval towers of some sort, they bear witness to a new era. Our vision heralds the future of regrowth, and perhaps also of an ecological renewal. Like many European cities, Barcelona will suffer from severe water shortages due to climate change. Water will become an even more precious and scarce commodity than it is today. It will still rain in the future, but at different times of the year, less frequently, but more intensely. A water balance geared towards these new conditions will be a crucial foundation of the urban ecosystem.
Christ & Gantenbein, May 2022
Our vision for a Barcelona of the future is merely a sketch or a collage at this point. Its components look familiar. They echo the spirit of awakening that swept European
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Diego Carrillo Messa/Celobert
MODEL 2022
La soberilla, més enllà de la superilla
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40/XX
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This new balance means a drastic reduction in the city’s population (50%), with people migrating to rural areas in the BMA or beyond, in search of less densely populated areas that have farmland and water. Fifty per cent of existing housing will fall into disuse and it will be necessary to increase the surface area dedicated to food crops, while ensuring adequate sunlight. It will also be necessary to accumulate large quantities of rainwater, to make us self-sufficient during times of drought, as well as massively increasing the production of renewable energies on a local, decentralised scale. The presented project is based on adapting the SUPERBLOCK model in order to make it SOVEREIGN, organised internally as a community that is independent from those that surround it. This adaptation is based on: – Demolishing buildings on the south-east and south-west sides of each residential block and its interior. The rubble can be stored in underground levels that are currently used as car parks for private vehicles. – Adapting the free surface area of each block in order to cultivate the land and plant
fruit trees. This topsoil must be placed on top of the rubble. – Making full use of the underground levels of the remaining buildings, in order to accumulate rainwater in large cisterns. – Incorporating supporting structures to the south-east and south-west façades of the buildings, as large outdoor areas, to be used for hydroponic cultivation, poultry, plants and flowers. The structure will also be an outdoor communal area that will horizontally and vertically connect the dwellings in each block, favouring interaction as a community. The solar protection of the façades will also be improved. – The installation of large photovoltaic solar panels on the buildings, generating large comfortable shady areas on roofs (solar protection), for communal use.
FEM
The rising cost of petroleum takes us to a Barcelona that must be sovereign in food, water and energy. A transition from the current city model to a sustainable one is based on being independent from the transportation of goods and being resilient to climate change, which is implacable. This means a profound transformation based on finding a new balance between population density and our capacity for community selfsufficiency, in terms of what we need to live: food, water and energy.
The installation of mini wind turbines that will complement the photovoltaic energy production, mainly at night and in winter. – Placement of water cisterns on roofs, fed by groundwater, which will be pumped up using the surplus photovoltaic energy or using the mini turbines during the night. – Promoting shared e-mobility, based on communal vehicles and bicycles, which will only use the first basement floor for storage. The drawing aims to be an evocative representation of what a SOVEREIGN BLOCK would be like, using the graphic language of floor plan, elevations, sections and perspective. A sea of vegetable gardens, photovoltaic energy communities and windmills will reconnect Collserola and the Mediterranean, allowing life to continue in Barcelona!
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Elena Cánovas
MODEL 2022
City of Flux
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42/XX
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This watercolour explores geographic systems and the mountain-sea relationship, flows, run-off and the coast, with a greater emphasis on regrowing the city. The city is a place that connects cultural, biological, hydrological and geological networks. An illuminated (enlightened) city that reintegrates the logic of flows into the urban infrastructure. Short lines in the direction of water channels and flows make the diverse individual more visible, creating a biological group (inhabitants and/or vegetation); showing pulsations, intensities, directionality and emotions; green indicates run-off networks, while red shows interactions generated for the encounter between the coast and the city, flowing towards the sea.
spontaneous events and habitats that revitalise the city and its context. Increasing the complexity of environmental and cultural interactions is not automatic. It is an attitude and a dynamic process that opens up new possibilities for civic participation and interaction: The end of La Rambla is a park leading to the sea. On the way, the vertical sculpture, located to one side, stops pointing towards an unexpected place and anonymously contributes to the existence of a shaded vegetation structure, without cars, that slides towards the sea. The Olympic Port is a place of shelter and a temporary residence for migrant communities during social emergencies. FEM
Like many other cities, Barcelona has a founding connection with water. Historical drawings and engravings continually highlight the sea, rivers and torrents. With the consolidation of the dense, compact city, weighty architecture and the design of its streets, it no longer explored its relationship with the hills, the winds, the mountain range, the plain or the sea. The urban area was developed in an isotropic way. Geography and nature are fundamentally anisotropic.
Montjuïc’s new coastal boulevard, on the narrow side of the Morrot, forms a lineal park that connects the mountain and the cemetery...
The transition zones are more dynamic and diverse. It is necessary to increase biological and cultural wealth beyond the very simplified strategy of tourism’s beach towel-volleyballkiosk, with the regeneration of the flora and fauna of the Mediterranean basin’s dunes and vegetation. The coast is restored, enriched and alleviated, while also becoming more resilient to rising waters. The Cartesian-isotropic context of the grid is transformed into a system of anisotropic networks of varying intensity and quality, which lead to encounters and foster
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Enric Batlle i Joan Roig How Big Is Barcelona?
MODEL 2022
ETSAV Sant Cugat, BCN
UAB Bellaterra, BCN
Columbia University Broadway, NY
Central Park New York Peu del Funicular Barcelona 12km
8km
HOW BIG IS BARCELONA?
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FEM
We must understand Barcelona from the observation of a geographical reality that goes beyond the municipal and even the metropolitan. In this context, the Collserola Range (82.5 km2) becomes the geographical heart that articulates the Barcelona Plain, the Vallès, the Llobregat area and the Besos area. The organisational similarity with New York’s Central Park (3.4 km2) and its ability to articulate neighbourhoods from Wall Street to Harlem, located at distances similar to those of Ciutat Vella with Sant Cugat, tells us about the relativity of city sizes, when we stop thinking in a municipal code and think in a geographical one.
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Federico Taverna Bakuh
MODEL 2022
99+ Imaginaris
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FEM
Submission for the exhibition 99+ imaginaries, Fundació Enric Miralles in collaboration with MODEL 2022. Drawing by Federico Taverna, Bakuh.
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Taller Gabriela Carrillo ( Gabriela Carrillo + Carolina Andrade )
MODEL 2022
Plaza Sant Felip Neri 2028
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Today, faced by extreme attacks on the planet, water shortages, the failure to accept otherness, and a society worn out by the global pandemic, I believe that the “emptiness” represented in public spaces has huge potential to renew itself based on a minimal vision: tiny acupunctures that manage to weave everything from minimal and systemic actions relating to infrastructure, leisure facilities and vegetation, fed by the water collected from all the sloping roofs in the neighbourhood, a new link to our memory and the new ways in which we have to live on this planet.
system, a line in the landscape, a children’s game, a set of drinking fountains, an audible and refreshing fountain, a symbolic tie with the past. An action that does everything while finding its utmost power in those things that already exist, a critique of who we were in the past, but also a vision of hope of where we can go by simply recognising and paying attention to what we had previously forgotten. Focusing on children and young people, praising the way they see things, unaffected by thought and stigma, using small actions to establish significant strengths for urban sxtructures entrenched in untouchable pasts, not forgetting, and paying attention, based on the beauty of spaces and landscapes, to the urban infrastructure of cities previously built with large doses of blindness, pain and mistreatment, but also with beauty.
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Barcelona’s Gothic Quarter is probably the most iconic place in my memory of the city, the constant surprises at every corner as I walked along its small alleyways, past designer shops and through small squares. I first went to Plaza Sant Felip Neri in 1998. I remember thinking that it was the most beautiful place I had ever seen. While walking along the alley, just before the square appeared before me, I could hear a man singing and playing a guitar, the floor was full of yellow flowers and the boy who was showing me the city was telling me that the holes in the walls of the church were from the civil war, when the square had been bombed, killing many children who had taken refuge in the convent. I felt a deep sense of contradiction: so much pain and so much beauty all in one place... I will never forget it.
Removing and replacing the existing roads after building a tank that can meet the water consumption needs of all the blocks within a given radius, rainwater that has been collected and treated not just for human consumption but also to water a lowmaintenance garden formed by local plants. The water is directed and conveyed through a network of pipes that is also an infrastructure
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Guillermo Santomà
MODEL 2022
Sagrada Familia
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FEM
If you zoom in on Google Maps’ 2D aerial view of the Sagrada Familia, you will see the towers breaking down, creating a glitch on the image where the structure appears to be made of wire. Representation has always been the limit of construction, form is still based on geometric shapes and, although 3D structures can be built from photographs thanks to computer parameterisation, gravity remains constant. These screenshots help understand the structure of the Sagrada Familia’s towers. Just like those of the Shukhov Radio Tower, the towers in Gaudí’s building are hyperboloids deformed by a catenary model. Techniques move forward, and drawings remain trapped in the forms of architecture.
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HARQUITECTES
MODEL 2022
Torna a Obrir
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52/XX
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In a city that will have recovered the quality of its air, natural ventilation will once again impose itself as an extraordinary treasure, the most comfortable kind, one that really characterises our climate. Air-conditioning systems will no longer be permitted and everyone will reopen their window. New bioclimatic strategies will appear (no doubt all kinds and types) to improve or enhance the quality and experience of this new comfort.
FEM
Regrowing will prioritise all that had been lost: the awareness that we are interdependent. Instead of wanting to be separated, we will once again have the possibility of being connected and interacting with the environment. The city will relax its building standards to allow for new strategies of adaptation and acceptance of this interdependence with the environment. Low-tech systems will replace all the mechanical and digital assistance that the fossil fuel era had consolidated. A necessary and inevitable process of technological degrowth with the most elementary transformation of basic and local resources will be imposed on outsourcing strategies. It is not possible to anticipate or regulate the forms this adaptation will take. They have to emerge, be born from real experience and from the need to be better. They must be conceived from a new state of awareness of what is really important.
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Hamed Khosravi
MODEL 2022
The Exterminating Angel
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FEM
Responding to the 99+ Imaginaries section of Model. Barcelona Architectures Festival, the project reflects on the tension between Barcelona’s famous metropolitan grid and its natural territory. Entitled “The Exterminating Angel”, the drawing addresses the alienating and captivating effect of the grid that has endured its destructive power despite all alterations. By going beyond the scale of the block or superblock, the project reads the urban form through the infrastructural and logistical space, constantly capturing, directing, and releasing movements across the territory. A frictionless movement of goods, capital, and information enables forms of control and measurement that ensure these flow demands will be met in a timely and efficient manner. This space is therefore defined in relation to the power that operates it. In order to connect and control, geographical features are manipulated and new infrastructures constructed. However, this greater connectivity is achieved at the cost of erasing all obstacles that stand in its way, be they human flows, urban fabric, or environmental features. Such a process is never peaceful.
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Joan Trias de Bes TdB Arquitectura
MODEL 2022
Naturalització de l’interior d’illes
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This project plans to make the general extension of landscaping in Eixample cityblock interiors compatible, taking advantage of existing buildings and constructions, while maintaining the structure of property, but pooling communal block interiors, making them accessible to local residents. This may be a controversial solution, because, in reality, it would not include the demolition of many existing structures.
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However, at the same time, it would be a possible solution, making full use of preexisting constructions.
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Jordi Garcés
MODEL 2022
Large scale architecture structures the big empty space in Vall d’Hebron.
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Sketch of the competition project “Outpatients at Hospital de la Vall d’Hebron’”, by the Casa Solo/Garcés-de Seta-Bonet team
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Jorge Mario Jáuregui
MODEL 2022
Redesigning a Symbol
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Public spaces, as places where all collective imaginaries are expressed, are an essential component of social life. La Rambla, the binding element of this collective imaginary in the case of Barcelona, challenges us to think about new relationships between permanence and renewal, removing useless items (kiosks without a unit, fixed benches, insufficient lighting) and providing the “spirit of time” (large walk-through holographic sculptures projected onto a nontoxic smoke screen; revolving seats; groundlevel lighting; absorbent floors taking up one third of La Rambla’s width, and redesigning and standardising planter kiosks in all their varying dimensions, thus contributing to the city’s renaturalisation). FEM
The aim is to provide an up-to-date and appealing image of the city’s identity, meaning the place where urban personality meets design and “communication”. A place of brightness and life on an urban scale for differences to coexist in peace. The brightness of people, of the glass on kiosks, of the metal seats and the holograms strategically spread out along La Rambla.
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Jose Maria Torres Nadal
MODEL 2022
Delirious NY
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Rem Koolhaas’ book DELIRIOUS NEW YORK was published in 1978. In Spain it was translated as DELIRIO DE NUEVA YORK and published in 2004 by Gustavo Gili. This book introduced, in a loop and through the binary exclusion procedure, the principles that went on to form the basis of contemporary architecture. The loop repeated over and over again that architects were the only beings in the universe able to manage public or private spaces. This is where the idea of “starchitects” comes from, and his binary approach-based method reiterated that the only possible representation of architecture was through its buildings. Any other form of architectural practice was excluded from the fiction with which he described NY, which he used as a statement on the future of architecture. Professional practice, caught in the middle of the history-criticism dilemma, chose to support the continuity of history by continuing with all the exclusions – such as those of gender, race, bodies or other beings – that had been left out of the book’s onesided account.
formulation of an environmental proposal: “Because we want the will of the Earth that gives its fruits for all to be fulfilled”; and a never-ending continuation, more current now than ever, in Octavia Butler’s work, and more specifically in her book Bloodchild and Other Stories (1995): “Who knows what we humans have that others might be willing to take in trade for a liveable space on a world not our own?” This scenario which, as an architectural practice, joins those architectures no longer based on the principles of DELIRIOUS NEW YORK, explores other images through disagreement with the book itself, forcing other languages by activating the concept of greening, which is about know-how and what leads to greening. Madelon Vriesendorp’s iconic cover is redefined with the following images: 1_Chickens lend their new materiality to the world. 2_Long Island lives on burnt templates. 3_If there was a mermaid in every village, my heart would be shoe-shaped. 4_The recognition of freedom. 5_Rucksack for carrying our Ego Delirium on our backs. 6_The origin of dissidence: escape towards greening. 7_The light of the jungle
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The architect and curator José M. Torres Nadal identifies the professional and cultural practices that show their distance from, and radical disagreement with, Rem Koolhaas’ book Delirious New York (1978), which form the basis for the greening architecture we need during social and environmental emergencies.
The exhibition announced by the poster revolves around the idea that the common denominator of these actions is what the curator has termed “greening architecture”, a type of architecture that necessarily leads to the greening of spaces. This architecture unexpectedly starts with Federico García Lorca’s A Poet in New York (1929), which contains what many consider to be the first
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Josep Bohigas
MODEL 2022
“Vaja vaja”
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64/XX
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FEM
From the series “vaja vaja” of Barcelona Regional
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Josep Ferrando
MODEL 2022
Exteriorised Interiors
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Submission for the exhibition 99+ imaginaries, Fundació Enric Miralles in collaboration with MODEL 2022. Drawing by Josep Ferrando
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Josep Miàs + Judith Leclerc + Jaime Coll Dibuixat per Carla Blanch Plein Soleil!
MODEL 2022
99+ Imaginaris "PLEIN SOLEIL". PLANTA TIPUS DELS HABITATGES A LA MARINA DEL PRAT VERMELL.
AUTORS: JOSEP MIÀS + JUDITH LECLERC + JAIME COLL. Dibuixat per CARLA BLANCH. 5 MAIG 2022
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FEM
PLEIN SOLEIL! La Marina del Prat Vermell is an old neighbourhood of textile colonies established on the south side of Montjuïc in the mid-nineteenth century. They dyed and dried the fabrics on the meadow (prat) which gave the neighbourhood its name. The triangle formed by the streets Ulldecona-Cal Cisó-Pontils is a unique plot of land in Urban Improvement Plan (PMU) Sector 10, La Marina, Zona Franca. The block of flats materialises or dematerialises depending on the position of the observer. Given this recourse, the geometry of the triangle generates the volume (compactness) and at the same time we rationalise the volume by carving it into equivalent blocks, with12 flats per floor, all of them on a corner and, therefore, with double orientation, ventilation and 100% insulation (porosity).
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Juan Micieli
MODEL 2022
Ciudad de Mil Capas
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70/XX
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Cities have more than just one facet: they are a collection of overlapping layers, more than the sum of their parts. They are made up of buildings, squares and streets but, more than anything, they are made up of human beings forming groups that are more than the sum of their individual members. Cities must be more than the capitalist production machine par excellence. They must be the place where varied groups of humans and non-humans can meet and fight.
public transport system linking the whole of the metropolitan area together must be put in place.
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Just like cities, this work is made up of a number of overlapping layers. Depending on which side you’re looking from and how it is lit, the work, just like cities, can provide very different and even contradictory images.
A-SIDE – Metropolitan Barcelona Barcelona is facing the challenge of metropolisation. It is in planning the whole metropolitan area that the most significant opportunity for the city arises. This must be seen as an interlinked conglomerate that feeds into itself to avoid falling into the traditional extractive dynamics of very large cities with powerful centres and subsidiary peripheral areas in which some people benefit from capital gains while others contribute their working capital. It must accept responsibility for its remarkable natural condition and place it at the service of society as a whole. Moreover, in order to preserve the environment, river basins, mountains and beaches must be placed at the service of the public, ensuring accessibility for everyone. The large infrastructure works that are key to the development of these megacities bring faraway places closer together but drive nearby points further apart. Although a network of underground high-speed roads can solve many problems, an accessible
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Juergen Mayer H. / J.MAYER.H und Partner, Architects
MODEL 2022
Bye-Bye Beach
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FEM
There will be a future of Barcelona without a beach. What such a special public space adds to the bustling life of the city will disappear again into the ocean. All the building and effort of refilling the beige strip of imported tiny pieces of shells, stones and bones along its seductive coastline needs to be reevaluated and a new potential might replace the sandy strip. But what will come next? Is there a need to extend the city further into the sea? Will UV-rays become a real danger for outdoor relaxation? Is a rising sea level demanding an alternative solution to protect the urban fabric? Will there be floating neighbourhoods blocking the horizon? See you later sand? But where? Send location. Floating beach, sand on a platform. Cannot be washed away. Bye-bye beach as we know it.
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Juli Capella
MODEL 2022
Recogiendo Tomates en el Paseo de Gracia
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FEM
Submission for the exhibition 99+ imaginaries, Fundació Enric Miralles in collaboration with MODEL 2022. Drawing by Juli Capella
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Kathrin Golda-Pongratz
MODEL 2022
Dibuixant Somnis de Memòria amb la Llum
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FEM
A tree close to the Olympic Village near the sea, a piece of plastic captured in its branches, wastes. the view of the presence . entangled within it, a fisheye-bubbled image of the past, the lightness of a Barceloneta rooftop, dreams of memories which inspire ideas for the future.
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Lagula Arquitectes
MODEL 2022
Barcelona-a-negada
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78/XX
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Barcelona under water. Jaume Valor, one of Catalonia’s leading figures on sustainability, often cites “The Limits to Growth”, a report produced by a team of 17 researchers in 1972. The report provided a breakdown of the environmental risk to the planet caused by human action, and the actions that could reverse it. Valor explains that, 30 years later, one of the members of the team, Dennis L. Meadows gave a series of talks explaining how the point of no return had been passed and the only option now available to European cities was to create resilient communities capable of surviving the impact of the collapse.
base of each tower uses the flow of the sea to generate energy in a sustainable manner. The neighbourhoods of Barcelona’s forgotten outskirts, standing on the slopes of the Montjuïc and Collserola hills, have become the new city’s nerve centres, mystical places where you can touch earth and stone. The recently refurbished civic focal point of Calle de la Mina de la Ciutat thus becomes the new Passeig de Gracia equivalent, and the rental prices of non-seafront properties skyrocket. But that’s another story…
FEM
In a way, the proposed image is based on the two cases mentioned above. Climate change causes melted ice caps and torrential rain. The flooded city is regenerated through a new extension system based on reclaiming land from the sea. A mesh of vertical structures now stands where the chambers of the now submerged Eixample used to be, creating a new marsh. Underground connectors crop up, linking the various resilient communities to each other and the territory. The remains of the old blocks have been re-occupied just like the ruins of the monumental walls of Jericho or Roman remains were occupied in Piranesi’s Le Antichità Romane (1756) drawings. Due to the need for space for crops, diversified crops are sown on terraces, linked to each other by recycled industrial waste. A new network of large, isotropic and nonhierarchical structures takes over the gaps and generates a system of towers, providing a structure to reclaim space from the sea. The Eixample’s submerged remains now provide a new place for crops and algae plantations, which form the basis of a new cuisine and are essential due to their protein content. The
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Laura P. Spinadel by URBAN MENUS
MODEL 2022
El sueño de Laura en una Barcelona possible
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80/XX
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About inclusive ecosystems GREEN SMOOTHIES FROM THE SHOWER? People can now get their daily energy kick faster than ever before. There are spray and shower stations installed all over the city. At the touch of a button, they release chlorophyll – the dye that makes our leaves green and us healthy. By using special technology, the living plants are tapped directly – no preservatives needed.
FEM
The most popular way to get the “green blood” so far are smoothies. The disadvantage is that many people drink them from plastic bottles and the smoothies are not fresh. The initiators of the project want to renew the connection with the origin, and their proposed solution: osmosis between man and nature – direct entry of concentrated nutrients via the skin membrane. One spray of chlorophyll on the forearm is enough to absorb as much energy as only a hyper-healthy smoothie diet, vitamin supplements and meditation combined could provide. It corresponds to the equivalent of 10 cups of coffee – only without the caffeine overload and the low afterwards. For an intensive treatment, there are cells in which you can even take a chlorophyll shower. The effects: Fewer expenses for packaged juices, ergo waste reduction. Minimisation of environmental damage through more moderate coffee cultivation in our supplier countries. Reduction of illnesses of all kinds due to the nationwide and free supply of vital substances. Increase in productivity. The city is active as never before.
81/XX
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Luis Úrculo
MODEL 2022
Bcn / Bcn
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82/XX
M
Where will the metaverse end? Where will the new boundaries of the analogic city be?
FEM
Can we draw a line between these two bodies?
83/XX
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Mayorga+Fontana Arquitectura
MODEL 2022
“I am A School”
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84/XX
M
A tribute to Denise
things can happen.
mayorga+fontana arquitectura
Where it is simply nice to spend time, pass through or take a walk.
What happens around schools? How are they made? What social relationships can take place there? What activities, uses and appropriations do they foster? Can they be spaces for establishing relationships involving spatial and functional continuity between the interior and exterior? Can they facilitate initiatives between public spaces and education facilities? In addition to closing and protecting, can they also drive strategic and integrating openings between schools and their surroundings? Can they cause things to happen? ///////////////////// “A conventional loft building would be better placed to house bureaucracy, perhaps with a flashing sign that read “I AM A MONUMENT”. (R. Venturi, D. Scott Brown, S. Izenour, Learning from Las Vegas) A provocation! Claiming a need. Communication!
Reflecting on threshold architecture. Transforming fences. Spaces for creating new agreements between interiors and exteriors. Shaping schools with “active urban thresholds”. More habitable! Towards an educating city that goes “far beyond the classroom”. //////////////////// - Lúdico/ca (From the Latin “ludus” (game) and the ending “‒́ ico”): belonging or relating to playing. - Ludir: (Possibly from the Latin “ludĕre”, to play): to rub, scrub or graze something else.
FEM
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///Permeate - Allude: (From the Latin “alludĕre”): to be related, sometimes in a hidden manner, to another thing or person. ///Mention Insinuate Relate Link - Elude: (From the Latin “eludĕre”): to avoid, dodge, ignore. /// Protect ///////////////// e-Ludens
An ordinary and banal sign will be able to fulfil a function that cannot be taken on by architecture. /////////////////// Rethinking walls and enclosures. Providing streets with environmental quality. Rethinking the fences around public facilities. New places for opportunities. Addressing the issue of limits. A place where
85/XX
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Young & Ayata - Michael Young/ Kutan Ayata
MODEL 2022
Titol de la Peça, avegades el titol es llarg, millor donar-li molt de espai
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86/XX
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With the GATCPAC and the avant-garde movements of the 1930’s, Barcelona once again intensified its desire to plan a functional, technological and egalitarian future, in which even the concept and form of superblocks was already present. And of which the bravest proposal was the project of City of Rest and Holidays (1933-1934), located in a strip of 8 kilometers of coast, from the Delta of the Llobregat to the escarpment of Castelldefels. In this popular city of leisure and exercise, a large number of publicly managed social facilities were proposed. At the same time, Nicolau Maria Rubió i Tudurí, from his independent and eclectic point of view, invented a “Future City” between Plaça d’Espanya, the port and the airport, in line with the ambitions of the International Exhibition of 1929 and inspired by the Italian futurists, the Vertical City of Hilberseimer of 1927 and the skyscrapers of Chicago and New York.
Just Desvern, directed by Ricardo Bofill and engineered by Anna Bofill. And the Barcelona model, laboriously conceived at the beginning of democracy and implemented with the impetus of the 1992 Olympic Games, embodied this desire for a contemporary and democratic city, beginning to dignify and expand spaces, and to create public facilities in neighborhoods. This intention and need to rethink the future of the city is still alive today. With the vision suggested by this call for drawings, with radical imagination and optimism, drawing architectures that allow us to redefine the conditions of our present and thus open ourselves to the possibility of different, more equitable and fair futures. These proposals come from architects of very different generations, who have imagined fragments of a future Barcelona, from itself and from many different cities. A rethinking that follows very different and complex paths, scales and strategies, but which also tends towards renaturalization, neighborhood scale and proximity, the emphasis on diverse ways of life, on affordable housing, and in the search for alternatives. This is the invitation to debate.
FEM
Thinking about the future of the city is part of the DNA of modern Barcelona. Ildefons Cerdà’s Eixample Plan (1859) is the first major referent, and its realization, still alive, remains so foresighted even when in transformation. To amend the Cerdà plan, León Jaussely was commissioned in 1905 to imagine a more monumental, hierarchical Barcelona close to the garden city.
The tense lethargy during the Franco dictatorship had exceptions, with unrealized projects such as the rows of rationalist blocks of economic housing from 1949 in Mitjans, Moragas, Tort, Sostres, Balcells and Perpiñá; the imaginations of water, light, colors and music by Carles Buigas; or the technological experiments of the 1960s, which left a fragment of a megastructure and city in the air, Walden 7, handcrafted in Sant
87/XX
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Monica Bertolino
MODEL 2022
Eco-Lógicas
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88/XX
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The idea, framed in an ecofeminist vision, proposes considering natural systems, active and obsolete infrastructures, remaining spaces or spaces with polluting uses, as “supports for an ecosystemic city strategy” aimed at achieving “better social and environmental balances”, carrying out renaturalisation, energy supply, environmental pollution mitigation and recycling actions for this purpose while providing more public land and space for mixed uses to be decided in accordance with each location.
FEM
The drawing technique involves using ink and watercolours on recycled paper.
89/XX
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Nábito Architects. Ale FaticantiBebo Ferlito
MODEL 2022
Entre Esferas, Una Nueva Biosfera
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90/XX
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It may be easier nowadays to imagine, plan and carry things out in many dimensions (both real and virtual)… Meta Eixample is a new Eden, a vertical expansion. It is made up of blocks and superblocks stacked up in the form of lightweight platforms joined together by a structure of poles and pneumatic elevators. It is developed slowly over time, vertically above the increased water level, under a strictly climate-controlled geodesic dome. Energy is created using the sea current, the air and the sun, and fossil fuels and walls for protection are no longer needed.
FEM
Barcelona appears under the water and makes space and air available for a playful, happy, aerial and lightweight multi-village of “Eixamplescrapers”. Raft-towers with a combination of interwoven functions: production (crop towers), leisure (leisure towers), culture (botanical towers) rest (residential towers), and so on. A new, free “ordered arrangement” between spheres in harmony with nature and between species, without making any distinctions based on gender, race or social class. An intertwined, slow-paced, navigating nomadic global village. Food is self-produced on shared platforms, construction is completely automated and uses recycled materials taken from the remains of “old” Barcelona. Citizens’ lives are hedonistic and stress-free. Humankind… “becomes a friend to nature, incorporating it into its environment by means of climate control and all the technological advances made possible by progress...” A potential yet very current Noah’s Ark. A romantic experiment.
91/XX
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MODEL 2022
NUA arquitectures; Maria Rius Ruiz, Arnau Tiñena Ramos i Ferran Tiñena Guiamet “For us”
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92/XX
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FEM
In addition to people, the future FOR ‘US’ from the Otterlo circles (Aldo van Eyck and Hannie van Eyck?) will also include all living species and nature. BY ‘US’ includes architects, forming a team with many other disciplines and in collaboration with the inhabitants of cities.
93/XX
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Vora (Pere Buil i Toni Riba)
MODEL 2022
Despavimentar I redescobrir
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94/XX
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Barcelona is currently rethinking its urban model. The porosity of the city’s skin, its pavements, is a key issue for the water cycle, which will be scarce in the future. A field of research in which there is still much to discover. This porosity opens up new perspectives. Skin replacement involves depaving, permeability uncovers what lies beneath. The infiltration of water into the subsoil opens the eye to the subsoil. The buried layers of the city emerge, their hidden and forgotten memories.
FEM
Medieval and modern walls are a necessary (re) discovery. A key construction for understanding the morphology of the city. It artificially contained the urban sprawl, densifying it to the extreme, and keeping the entire surrounding plain empty. A gap that later made the Eixample possible, an urban innovation that is so characteristic of Barcelona. To look down is to look at the future and the past at the same time. To understand the roots of the present and at the same time project yourself into the future. To renaturalise and reconnect.
95/XX
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Octavi Mestre / Sofia Simioni (Mestre Arquitectos SLP) Paseando entre copas de los árboles
99 Imaginaris... Posats a imaginar... Mentre el Zoo no se´n va i allibera el final del Parc de la Ciutadella, proposem una doble passera que pugui connectar el Parc amb el de la Barceloneta, unir el verd amb el verd i, al fons, el blau del mar La mer toujours recommencée
MODEL 2022
Una passera doble (els camins son sempre aleatoris) que arranqui al bell mig del parc i es converteixi amb mirador sobre la ciutat i l’horitzó salvant el passeig de circumval·lació, les vies del tren i el cinturó del ronda, entre mig dels quals tindrà els seus recolzaments. Una passera que pugi i baixi i que tingui un ascensor per a persones amb dificultat al caminar. Referències? La de Venècia, al costat de la estació de Santa Lucia sobre el canal més proper... i el projecte que estem fent de 120.000 m2 d´un Centre Comercial, aparcaments i possible hotel sobre les vies de tren d´una estació de l´AVE (arriba un moment en el qual un acaba tirant de fons d´armari propi). Presentem els esquemes, el croquis de partida i el collage. Avui en dia tots aquets elements son els dibuixos de l´arquitecte. Octavio Mestre / Sofia Simioni (Mestre Arquitectos SLP)
us
No nts
po
Pont a Venècia
Centre comercial a Lleida
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Situació amb intervenció
96/XX
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We believe that architecture is meant to improve people’s lives, to discover things that we don’t even know we need. So, using our imagination... Until the Zoo goes and frees up the end of Parc de la Ciutadella, we suggest a double footbridge that could connect the park with Barceloneta, linking green space to green space with the blue of the sea in the background... La mer toujours recommencée
FEM
A double footbridge (paths are always random) that starts in the middle of the park and becomes a viewpoint for viewing the city and the horizon, avoiding a Passeig de Circumval·lació, the railway tracks and the ring road, where the footbridge supports will be. A footbridge that goes up and down and which has a lift for people who have difficulty in walking. References? The one in Venice, next to Santa Lucia station, over the nearest canal... and the 120,000 m2 project we are doing for a Shopping Centre, car park and possible hotel over the train tracks of a high-speed train station (there comes a time when you have to use everything you’ve got) . We present the plans, the original sketch and the collage. All of them are architect’s drawings these days.
97/XX
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OFFICE Kersten Geers David Van Severen
MODEL 2022
After “Traval / Peinture”
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98/XX
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FEM
Submission for the exhibition 99+ imaginaries, Fundació Enric Miralles in collaboration with MODEL 2022. Drawing by Josep Ferrando.
99/XX
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Olga Felip
MODEL 2022
Desmontando la Sección Alemana
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100/XX
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DISMANTLING THE GERMAN SECTION. A montage which completes a series of graphic documents that reconstruct all the interventions by Ludwig Mies van der Rohe and Lilly Reich for the German Section at the International Exposition of Barcelona in 1929, in a new open journey round Montjuïc mountain.
interpretation. A temporary sequence of the German Section’s 16,000m2 in which the Pavilion will begin, centre or end.
FEM
History offered Mies and Reich a time and a place. The possibility of defining a new order of the eight Palaces and two Pavilions with two extremes: art and technique. At this time, Mies will immerse himself in the world of the Reich and of the seva mà, he will walk in the spirit of discipline. A world – that of exhibitions – governed by other laws, free of the condition of place and of permanence. One day where everything that happens will vanish and nothing will remain in the memory. The German Section is going to open a fissure that hid a new world and is going to build a new imaginary that will end up becoming everyday. The scenography of the exhibitions and the Pavilion space entered the collective imagination, where they took root and put to bed the domestic space of tomorrow. This collage presents a critical look, by drawing on what he has drawn, it turns out to be an extraordinarily efficient one for understanding and analysing an architecture that does not already exist. Know and investigate from the hands, from the pencil, understanding the drawing as a research queen to understand, verify and analyse. DISMANTLING THE GERMAN SECTION places each piece according to the imaginary journey by Mies and Reich, while at the same time capturing the magnitude and scale of the totality of his intervention, with the limits between the exhibited spaces and the exterior creating a new space for its
101/XX
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Olga Subirós i 300.000 km/s
MODEL 2022
Radical air. All that is urban melts into air (air.llull.cat)
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102/XX
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Air pollution in cities is a local public health crisis interconnected with the global climate emergency.
The origin of these two crises is anthropocentric. We must reduce emissions. Decarbonising locally is decarbonising globally.
FEM
Redesigning the air, redesigning cities, prioritising the health of all human and non-human beings is the radical change that we need.
This is more than a personal option, it is a need for collective eco-social justice.
(Forms part of Air/Aria/Aire, presented for Catalonia’s participation in the 2021 Venice Biennale of Architecture, curated by Olga Subirós, with the collaboration of 300,000 km/s)
103/XX
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Pau Bajet (Bajet Giramé)
MODEL 2022
Parcel·les a l’Aire Endevant dels Aiguamolls de Can Tunis Any 2080
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104/XX
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alters the flat orography of the delta and which we can reuse – into a socio-ecological corridor that connects Montjuïc with the Baix Llobregat agricultural park. So it is not a question of starting with a clean slate but of distorting material evidence of the delta, of the recent agricultural and industrial past. Also highlighting the qualities of a vernacular industry – prosaic ships and warehouses – that over the years have hosted a multiplicity of changing activities, many of them vulnerable, that could not have occurred in denser parts of the city.
FEM
Recovering Can Tunis beach, the beach of Sants and Hospitalet which Barcelona appropriated almost a hundred years ago to make a free port, expropriating the lands of its inhabitants. A maritime reconquest that would give meaning to the place name of the Marina neighbourhoods. To do so, however, is not to seek an idealised past (a pristine beach), but to carefully distort the physical and cultural topographies that have been recorded in this place over the past hundred years. Well, perhaps I should say over the centuries: specifically from an agricultural intensification process undertaken by our ancestors which, together with other nonhuman factors, led to a sudden growth of tens of square kilometres of swampy land, forming the Llobregat delta. The impact of the successive transformations that humans have made in this area is immense (especially during the last decades of industrial intensification) in terms of biodiversity, affecting aquifers and at the same time altering the local climate. Alterations which, perhaps in the opposite sense, allow us to imagine the potential for future geological and climatological transformations hold for this area to take care of us. This drawing reclaims the delta’s past, its wetlands and also its agricultural legacy, proposing a landscape that catalyses biodiversity, takes care of the water cycle and behaves like a climatological device for the whole neighbourhood, while redeeming the cultural memory of the defunct beach at Can Tunis and offering an urban infrastructure of squares, gardens, orchards, pavilions, woodland, bushes and ponds for the enjoyment of humans and non-humans. It is a matter of converting a hub of motorways and obsolete roads, accumulated on top of a flat plateau – an artificial topography that
105/XX
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Peris+Totral Arquitectes
MODEL 2022
THE COMMON DIMENSION: Re-growing, re-uniting, reducing, re-greening
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106/XX
Within the framework of public housing, we see regrowth as expanding the common dimension of our habitat, the place where the community lives. That interstitial area around a home where relations with neighbours meet the strictly private sphere. Spaces which, in addition to fulfilling the functions of movement, distribution and access, provide settings for social gathering, meeting and living together. Beyond optimising routes and ratios, managing movement inside the building deploys a deconcentration strategy that will be key to social and environmental sustainability. The idea is to determine the size of emptiness according to factors other than normative habitability criteria regulating the dimension of internal courtyards to ensure they provide enough lighting and ventilation for health but to take this emptying of spaces and change it from being a condition to becoming a tool, the active value of emptiness. A bioclimatic space capable of reducing the building’s energy requirements to net zero and fostering personal relationships and friendliness. The quantity and quality of the air in a building is thus no longer the residual negative but a fluid governed by the laws of thermodynamics whose envelope is projected with the same intensity as solid constructions. It is a sort of engraved architecture that has always been there but now takes on its own life and autonomy. The organic connotation of the verb “to regrow”, to grow again, also suggests the renaturalisation of the habitat. Changing the scale and seeing buildings as small ecosystems. Revegetation to improve air quality and people’s lives.
extent to which we depend on one another. From the air we breathe, which can infect us, to the pollution we create, everything that happens here and now will soon affect the other side of the planet. In view of this scenario, we can isolate ourselves for immunity, entrench ourselves at home, seek shelter in a false sense of independence and self-sufficiency fostered by an individualistic culture, or accept that our bodies are precarious, the continuity between fluid-connected bodies, and recover the original meaning of social distancing. 1 The psychological distance that, according to anthropologists, rather than pulling us apart, brings social animals closer together so that the hidden bonds of group membership are broken after a certain amount of distancing. The aim is to achieve a habitat in which the word “I” becomes its plural counterpart, but not as a sum of “I’s” but as a “we”, with the ability to get involved together to decide how to share this common dimension in which we live in continuity with each other, where we all depend on each other. 2 Maybe one day spreading buildings out to make housing less concentrated will cease to be merely an architect’s dream and a maintenance cost to become not just an opportunity but a need to fight that other pandemic that quietly and invisibly stalks us in our own homes: LONELINESS.
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1 HALL, Edward T. La dimensión oculta. Siglo XXI editores, México, 1972, p. 23. 2 GARCÉS, Marina. Un mundo común. Edicions Bellaterra, Barcelona, 2012, p. 49.
The pandemic has made us aware of the
107/XX
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Point Supreme
MODEL 2022
Barcelona 2050.
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108/XX
M
What will the city of the future be like? Up until the recent past, cities were aggressively being built on the earth’s surface, erasing nature and using technological advancements to continuously grow in its place. But things have changed. Climate crisis, pandemics, and a renowned collective understanding of what living in cities means and how critically important the presence of nature is for everyone, could lead to a renewed relationship between city and nature in the near future.
FEM
Technology could be used not build ever taller, more extreme, ecological and smarter structures but for moving towards more resilient, fast-growing and diverse forms of nature that will provide the urbanites of the coming years with endless new experiences and identities.The city of the near future could be identified by and take pride in its unique, natural constructions and forms, instead of buildings, like it did before. A far more radical, substantial and literal way of building ecologically.
109/XX
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Queralt Garriga Gimeno
MODEL 2022
Diffusemueum-01
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110/XX
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This storyboard has served as a basis for the conceptualisation of the new audio guide for Barcelona’s Mies van der Rohe and Lilly Reich Pavilion. It covers and records the architectural events to be seen in the pavilion, according to a specific itinerary, as seen through the eyes of the visitors.
various works of art, which are the various spatial events that occur within it. For each event, the audio guide creates a pause and accompanies visitors in their contemplation of what is before them. This is a new way of conceiving an architecture museum. It is a ‘diffuse museum’: a territorially dispersed museum, rather than confined to an enclosure. A museum that understands that the best possible collection for such an architecture museum are the city’s best spaces and buildings, in the hope that someone is able to make them more visible and transmissible to visitors. All of this in an attempt to make architecture a little more accessible to the general public, so that when people visit, they are more aware of the architectural events that occur.
FEM
Paradoxically, the artistic discipline nearest to hand, architecture, is also the least well known. If we want to communicate the values of this discipline and qualities of this art to society, we must provide a new model for interpreting built areas, one not based on an abstract or conceptual knowledge, but rather the understanding that architecture structures, organises and coordinates individual, specific and perceptible spatial experiences. And that the best stimulus for acquiring architectural knowledge is through a direct, real experience in the building concerned, helping visitors to become more aware of what is happening in front of their eyes.
The audio guide is based on a new way of interpreting built space, on the understanding that architectural knowledge is transmitted best in the real space. This model for interpreting space is not based on the transmission of data or information, but rather on using simple words to make spatial phenomena that occur in space visible, recognisable, interpretable and transmissible, at all times during the itinerary, while we are visiting a site. The itinerary between the various selected points and the pavilion is free. The recording contains numerous silences, to give people time to look and see, to realise things and to allow space for interpretation. To make a comparison with a museum, it would be as if the pavilion contained
111/XX
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Rasheed Jalloul
MODEL 2022
Soil Swirl
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112/XX
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Inspired by the Save Soil movement, this collage depicts an agriculturally and ecologically fluid future of Barcelona. From the subterranean microbiology that contributes to human survival, to the forms of outer space, a trail of rainbow-coloured earthworms demarcates an inter-spatial spectrum. On an urban level, it speculates how Plaça de Catalunya can become an “urban prairie” with “pipe” interventions, derived from earthworm anatomy, working as “ultra-structure” that connect it physically, or not, to different “layers” of the city.
FEM
On a construction level, the drawing suggests an ecological system where heterogeneous parts work synchronically. Structurally, the program is distributed over three main spaces, each with its unique configuration (an underground layer, an art deco-y Plaça de Catalunya, and an open field.) This seemingly incoherent order is traversed by an independent system of geometrically similar “wormways,” respectively complemented by rhythms of colour and shape propagation.
113/XX
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Ros+Falguera Arquitectura & Osmin Avalos Architecture
MODEL 2022
Breath
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114/XX
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“Breath” acts on the College of Architects of Catalonia (COAC) and its urban environment with a proposal committed to regreening urban space and turning these institutional headquarters into a living, energetic and green building.
FEM
We want to respond to the current paradigm shift by uniting agriculture and technology, health and production, and giving architecture’s transformative value back to society.
115/XX
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Sandra Bestraten Castells
MODEL 2022
Abracem Montjuïc
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116/XX
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Collage based on water-colour experimentation, stitched together with an article from the magazine La Marina, January 2019, issue nº 279. Rethinking our relationship with Montjuïc mountain. Weaving Barcelona with Montjuïc
FEM
Barcelona is embraced by the Collserola range and two rivers, Besòs and Llobregat. However, Montjuïc, a veritable green lung in the heart of the city, has not yet become part of everyone’s daily life. This work invites us to sew Barcelona and this great Park together, looking for accesses that would help us cut out the slopes, either with gentle ramps, escalators or elevators that connect with different horizontal routes that allow us to embrace the whole of Montjuïc. Barcelona World Capital of Architecture 2026: Let’s embrace Montjuïc, fill it with life.
117/XX
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Sílvia Martínez Palou
MODEL 2022
Montbau
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118/XX
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FEM
Painting inspired by the façade of Block N on the Montbau social housing estate. A 1958 building designed by the young architects Subias, Giráldez and López Íñigo. A project conceived according to the dictates of the Athens Charter, where housing is organised into linear blocks that ensure sunlight and cross ventilation. Streets are mainly a green corridor between blocks and social life is concentrated in the square. A completely valid model for responding to the current situation.
119/XX
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MODEL 2022
Taller Mauricio Rocha. Mauricio Rocha con la colaboración de Claudia Oteiza y César Moreno Ruinas Contemporáneas
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120/XX
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FEM
Faced with the question “Did I live better in the future?” if we look for the answer in architecture, we have to stop to analysing how our cities have been shaped and, as they grow, what their relationship with the immediate surroundings has been like. Individual and non-collective interests define the growth of cities and the misuse of the social and natural environment. Buildings in poorly lit and ventilated settlements where families live in unacceptable conditions. Generic architecture that does not respond to any historical or cultural memory, that displaces and exterminates the few existing public spaces without any spatial or experiential proposal, while gentrification casts the former inhabitants to the periphery. A displacement of the population from their squares, courtyards, passages, meeting places and collective memory by new impersonal grouping systems.
121/XX
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Teresa Batlle Pagès. Felip Pich-Aguilera Baurier. Picharchitects
MODEL 2022
Barcelona Amagada Espera
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122/XX
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The comprehensive refurbishment of buildings in Barcelona – and most Mediterranean cities in general – should be increased to reach the level of other European cities.
City Council, the Catalan Government and the communication company Habitat Futura (exaequo award, with an interdisciplinary team of architects, engineers, biologists, economists and social workers)
This comprehensive refurbishment includes both functional and technical aspects as well as environmental ones, energy efficiency, the efficiency of all material resources and taking care of our buildings.
FEM
We must be able to come up with a new model for our Eixample district, from an overall and multidisciplinary perspective, which goes beyond individual actions. It is true that the density of our city’s urban fabric, where nearly everybody lives in blocks of flats, adds complexity to implementing such projects, which requires prior agreement between residents of the same community. A new neighbourhood identity must emerge that brings together the whole block, not as a sum of the existing communities but directly integrating neighbours, in order to promote, implement and manage the block master plan guidelines, enabling collaborative development between the City Council and the impulses of both citizens and businesses. The necessary and urgent comprehensive rehabilitation of Eixample buildings must be accompanied by reclaiming the block interiors for residents’ use, as a complement to the shortcomings of a congested neighbourhood, providing opportunities for residents’ leisure and the possibility of centralised production of resources, climate and energy. City proposal and brief reflection based on the work done on a master plan for all the Eixample blocks, rooted in the “Efficient Block” competition convened by Barcelona
123/XX
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Ton Salvadó
MODEL 2022
Agua
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124/XX
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As Ramon Margalef hinted, nature is wise enough to seek out balance, to rebel using its own tools in order to counter the successive actions to which human beings are subjecting the planet. One of the most obvious consequences is an inevitable rise in sea level, having broken the limits we set to avoid an irreversible climate emergency. With a certain amount of hypocrisy, we are forced to accept the essential and desperate use of solar energy, in order to help reduce the impact of our planetary abuse.
FEM
Cities are one of the most visible expressions of the stress to which extractive human activity has subjected the land, resulting in the brutal ecological footprint of cities. Barcelona is no exception, and as a coastal city, we will suffer a rise in sea level, while energy conflict will push us towards the real use of water beyond its symbolic raison d’être.
125/XX
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Vicente Guallart
MODEL 2022
99+ imaginaris
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126/XX
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The drawing is a forest city project diagram that allows us to think about how to make a new generation of urban structures beyond the continuous mesh model of the industrial city. Africa will be urbanised in the coming decades and for this reason it has the opportunity to think about the human habitat without assuming the errors of the cities of the 20th century. The proposed growth model promotes the continuity of habitable settlements but also protects nature. In this way, the continuity of transport, energy or water infrastructures is achieved and, at the same time, the continuity of natural systems is promoted.
FEM
- The city is developed on the basis of a linear city with a tree-lined layout - At least one third of nature is preserved at every fork - Any home is located less than 200 metres from a public transport stop - Any home is less than 200 metres from nature - Orthogonal meshes are developed for live communication.
127/XX
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Yaiza Terré
MODEL 2022
Arxipèlag
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128/XX
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The city explodes and a void appears, nothing, a pause, the silence is shattered into random fragments
FEM
seeking what is accidental, unpredictable and spontaneous.
129/XX
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Zaida Muxí Martínez
MODEL 2022
Points of inflection
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130/XX
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FEM
Continuities of life. A future in which the landscape changes due to a humanly provoked and unwanted act, resulting in other things in the rising sea. Far from a catastrophe, if we are prepared, it can allow us to recreate and renew our situation on the planet, finally recognising our interdependence and eco-dependence. Seeking to make our negative impact on ecosystems smaller. Rethinking relationships between living things. A city in continuity with the environment that houses it.
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Zuloark, Joan Guillamat Castells & Show Me The Project
MODEL 2022
“VLS [Very Large Structure] In BCN. Territorial Manager For Resilient Cities In Post - Climate Change Era”
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‘Very Large Structure’ is a habitable megastructure with a high degree of independence in symbiosis with the environment that traverses, being able to physically manage it while travelling. In it, cargo is uploaded and downloaded, buildings are constructed and tested, and different territorial policies and infrastructures are designed, implemented and managed with the aim of achieving the synergic updates and paradigmatic changes needed for the 21st century.
FEM
For 99+ IMAGINARIES we have imagined the VLS helping Barcelona to restore itself in a not so unexpected future context where cities will need to move away from rising sea waters.
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MODEL 2022
Roger Paez & ELISAVA, OJO estudio, Flexo Arquitectura, MAIO, Le Atelier Model Festival 2022 99+ Imaginaris Instal·lacions Model
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134/XX
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Before this exhibition opened these images were imaginaries, during the festival they were our present, and now they have become the past. The five temporal installations of the Architecture Festival Model 2022 promoted new ways of understanding, using, and imagining our city. Under the umbrella of RE-Grow, these spatial installations of radical forms and use play with the existent Architecture of the city, allowing it to transform into new programs.
FEM
They give us a glimpse of how Barcelona could be in the future.
135/XX
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Exhibition Catalogue MODEL 2022
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2022
99 imaginaris FUNDACIÓ ENRIC MIRALLES
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2022
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