PORTAFOLIO arquitectura
Gloria SchönburgGLORIA MARIA SCHÖNBURG
Sobre Educación
·Máster Universitario en Proyecto Integrado de Arquitectura
·Editora
·Grado en Arquitectura
·Diploma IB (Bachillerato Internacional)
·Redactora
·
Idiomas
Softwares Experiencia laboral
·Becaria de Arquitectura
· Becaria de Arquitectura
CONTENIDO
1. ÁGUA MOLE PEDRA DURA
2.LO SCALO
3.PERFORMANCE LIBERTARIA
4.CASA TROPICAL
5. AMONG OUR THINGS
6. PROLOGUE
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ÁGUA MOLE PEDRA DURA
Barcelona, España
Primavera 2022
Prof. Enrique Jerez
Trabajo final de grado
IE University
Água Mole Pedra Dura, situada en la cantera barcelonesa de Can Baró, presenta un desnivel de 100 metros que le confiere un ambiente único. La corriente de agua actúa como elemento central, conectando de forma natural las distintas zonas del recinto. Partiendo de los búnkeres, el agua desciende con elegancia por las laderas, conectando las ruinas de arriba con el espacio abierto de abajo.
Mediante una estructura de filtrado y un estanque hidrobotánico, el agua se purifica de forma natural antes de entrar en los pabellones excavados en las paredes de la cantera. Estos pabellones ofrecen a los visitantes espacios comunes e íntimos. La entrada, antes un aparcamiento, se ha transformado en una plaza que también recoge el agua de lluvia. Los canalones ocultos en la ladera de la cantera ayudan a retener el agua de lluvia y evitan la erosión, garantizando la conservación de los canales de agua.
Inspirado en el adagio brasileño “Agua blanda sobre piedra dura”, el proyecto destaca la interacción entre el agua y la cantera, donde cada una da forma a la otra y es moldeada por la otra, fomentando una conexión armoniosa entre los pabellones.
1. Reflecting pool embedded in the ruins 2. Water treatment 1: filter 3. Water treatment 2: hydrobotanic pond 4. Water quality control & water pumps 5. Contrast therapy pools: hot & cold water 6. Cleansing pavilion 7. Sauna pavilion 8. Elevator passage 9. Massage pavilion 10. Introspection pavilion 11. Sun pavilion 12. Hammam 13. Leisure pool 14. Pool preparation room 15. Sportive pool 16. Services pavilion 17. Rainwater collection cistern 18. Greywater collector Intermediate floor plan 1/800 * underground 3. 4. 6. 8. 9. 10. 11. 12. 13. 15. 14. 16. 17.* 18.* 2. 3. 4. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 15. 14. 16. 17.* 18.* 1. Reflecting pool embedded in the ruins 2. Water treatment filter 3. Water treatment 2: hydrobotanic pond 4. Water quality control & water pumps 5. Contrast therapy pools: hot & cold water 6. Cleansing pavilion 7. Sauna pavilion 8. Elevator passage 9. Massage pavilion 10. Introspection pavilion 11. Sun pavilion 12. Hammam 13. Leisure pool 14. Pool preparation room 15. Sportive pool 16. Services pavilion 17. Rainwater collection cistern 18. Greywater collector Roof plan 1/800 underground 1. Reflecting pool embedded in the ruins 2. Water treatment 1: filter 3. Water treatment 2: hydrobotanic pond 4. Water quality control & water pumps 5. Contrast therapy pools: hot & cold water 6. Cleansing pavilion 7. Sauna pavilion 8. Elevator passage 9. Massage pavilion 10. Introspection pavilion 11. Sun pavilion 12. Hammam 13. Leisure pool 14. Pool preparation room 15. Sportive pool 16. Services pavilion 17. Rainwater collection cistern 18. Greywater collector Ground floor plan 1/800 underground 3. 4. 4. 5. 6. 8. 9. 10. 11. 12. 13. 15. 14. 16. 17.* 18.* Axonometric 1/750
2. Waterproofing membrane 3. XPS insulation board 10cm 4. Drainage pipe 5. Protection mat 7cm 6. Crushed limestone pieces 7. Quarry wall 8. Gravel layer 9. Lean concrete 10cm 10. Limestone flooring 5cm 11. Floor heating 12. Silicon joint 13. Infill soil 14. Filter 6cm 15. Gutter 16. Protection grid 17. Aluminum frame 20. Glass enclosure 21. Polycarbonate diffuser panel 22. Acrylic frame 23. Cement layer 5cm 24. Solar panel 25. Chain drive mechanism Electric motor 26. Double glazed glass 2cm 27. Insulation curb 28. Metal supporting pedestal 8cm 29. Precast concrete panel 5cm Trencadis exterior layer 30. Ventilation pipe 31. Double glazed glass door 4cm 32. Water body Details 1/20 24. 25. 26. 27. 17. 28. 29. 2. 3. 1. 15. 14. 13. 15. 16. 4. 25. 20. 21. 22. 23. 6. 2. 3. 4. 5. 6. 7. 2. 3. 4. 7. 8. 9. 10. 11. 12. 10. 11. 12. 12. 4. 2. 1. 10. 11. 26. 2. 3. 8. 9. 10. 11. Plan massage 1/75 2.7m 4.5m 13.4m 3.6m 4.9m 16.8m 15.8m 0.5m All pavilions have the same construction method and materiality. They are composed of concrete walls with insulation on the exterior side to obtain interior walls without finishing, showcasing the concrete structure. The facade is attached to the insulation boards and held by metal supports. All pavilions are partially underground with an infill of crushed limestone and soil. The presence of plants on the roof transforms what would be loose soil into gardens colored by the flowers of bougainvilleas, yellow jasmines and roses. The domed roof was chosen to support the forces applied by the infill since it works well in compression. Apart from that, it refers to the typical bathhouse morphology present in Spain. 0.0m +3.0m +4.3m +6.4m +3.7m +2.7m -0.6m Longitudinal section 1/50
LO SCALO
Pavia, Italia
Otoño 2021
Competición Hangar Ticinum - FINALISTAS
TerraViva Competitions
Equipo: Gloria Schönburg, Miranda Ramos
Mejía & Sarah Kimmich
Lo Scalo, en el Idroscalo de Pavía, es más que una renovación: es una transformación en un vibrante centro comunitario. Dividido en tres secciones -el salón, la cervecería y el núcleo de circulación-, el espacio da cabida a diversas actividades. El amplio salón, con entreplantas, acoge diversos actos, desde discotecas de patinaje hasta sesiones de estudio. La cervecería añade actividad constante, sirviendo su cerveza en los bares de la planta baja y en una terraza en la azotea.
Conservando la fachada original, sobre todo el lado norte, de gran importancia cultural, se integró un esqueleto metálico, eliminando el tejado central para introducir luz y vistas a la ciudad. Esta estructura soporta plataformas de madera para entreplantas y terrazas, que se mezclan a la perfección con los tanques de fermentación de la cervecería en la planta baja.
EXISTING
SKELETON
PLATFORMS
BREWERY ENTRANCE & CIRCULATION SCREENING ROOFTOP BAR
ROOF CLADDING
PERFORMANCE LIBERTARIA
Barcelona, España
Primavera 2023
Prof. Mireia Luzárraga and Pau Bajet
Universidad La Salle Ramon Llull
Equipo: Gloria Schönburg, Ahmad Zeidan
El proyecto pretendía actuar en un edificio industrial del barrio barcelonés de Poble Nou añadiendo una estructura parasitaria para mejorar la experiencia de visitantes y residentes. Inspirándonos en el papel histórico del teatro en la liberación social y política, añadimos un escenario flexible al pequeño patio. Este espacio ampliado invita a la gente a actuar, reunirse y participar, desdibujando la línea entre público e intérprete. La configuración del espacio se compone de tablones y bloques de madera que pueden desplazarse sobre una estructura metálica y convertirse en escenario, banco, plataforma elevada y mucho más. Cintas de tela crean un semicerco, en continuo movimiento como una cinta de cine, regulado por estructuras en el techo para crear diferentes recintos.
2023 500 BCE 300 BCE VERY LIBERATING LESS LIBERATING THEATER OF THE OPPRESSED TEATRO OFICINA EPIC THEATER COMMEDIA DELL’ARTE SATYR PLAY VIRTUAL PERFORMANCE 500 1400 1800 1920 1950 1960 LEHRSTÜCKE CARDBOARD CITIZENS 1990 TRIADISCHES BALLETT 1930 THEATER OF CRUELTY THE THEATRE OF THE OPPRESSED WAS CREATED IN THE 1970S BY BRAZILIAN THEATRE PRACTITIONER AUGUSTO BOAL HIS TECHNIQUES USE THEATRE AS MEANS OF PROMOTING SOCIAL AND POLITICAL CHANGE. EVERYONE IS PROTAGONIST THE SPECTATOR DOES NOT DELEGATE POWER TO THE ACTOR. EVEN THOUGH SOME PEOPLE MIGHT CHOOSE NOT TO COME ON STAGE, THE FACT THAT THEY DECIDE NOT TO INTERVENE ITSELF A FORM OF ACTING. HIS METHOD WAS BASED ON THE ASSUMPTION THAT DIALOGUE IS THE COMMON, HEALTHY DYNAMIC BETWEEN ALL HUMANS AND WHEN A DIALOGUE BECOMES A MONOLOGUE, OPPRESSION ARISES. IN THE THEATRE OF THE OPPRESSED, THE AUDIENCE BECOMES ACTIVE THEY EXPLORE, SHOW, ANALYZE AND TRANSFORM THE REALITY IN WHICH THEY ARE INSERTED. DIALOGUE THE THEATRE OF THE OPPRESSED METHODOLOGY CONSISTS OF ENGAGING THE PARTICIPANTS' PERSONAL EXPERIENCES TO CREATE OPPORTUNITIES FOR CRITICAL REFLECTION ON OUR SOCIAL REALITY AND JOINTLY SEARCH FOR BOTTOM-UP SOLUTIONS TO SOCIAL ISSUES. AS AN INTERACTIVE AND PARTICIPATORY FORM OF THEATRE, CREATES A SAFE SPACE FOR PEOPLE TO REHEARSE THEIR ACTIONS AND FIND VARIOUS OPPORTUNITIES FOR SOCIAL TRANSFORMATION WHICH CAN LATER BE USED IN REAL LIFE. EPIC THEATRE WAS A THEATRICAL MOVEMENT THAT HAPPENED FROM THE 1920S TO THE MID 20TH CENTURY. WAS INSPIRED BY THE SOCIAL CLIMATE OF THE TIME AND WAS CONCERNED WITH INSPIRING THE AUDIENCE TO SEE THE WORLD THE WAY IT HE NAME “EPIC THEATRE” EMPHASIZES ON THE NATURE OF THE PLAYS AND WHAT THEIR INTENTIONS ARE. THEY FOCUS ON THE AUDIENCE’S PERSPECTIVE AND REACTION TO THE PIECE. VARIOUS TECHNIQUES WERE USED TO ACCOMPLISH THIS, SUCH AS THE “ALIENATION EFFECT” WHICH INCLUDES POOR OR IRONIC ACTING, OBVIOUS SET TRANSITIONS, ACTORS SPEAKING WITH AUDIENCE MEMBERS AND STEPPING OUT OF THEIR ROLES. OFTEN, THEY WOULD ALSO PLAY MULTIPLE CHARACTERS ENSURING THE AUDIENCE COULD NOT, FOR A MOMENT, CONSIDER WHAT THEY’RE SEEING ON STAGE AS REAL. EPIC THEATRE IS NOW MOST OFTEN ASSOCIATED WITH THE DRAMATIC THEORY AND PRACTICE EVOLVED BY THE PLAYWRIGHT-DIRECTOR BERTOLT BRECHT HISTORICISATION WAS METHOD OF USING HISTORICAL EVENTS TO CRITICIZE CURRENT EVENTS CONNECTING THEM THROUGH THEIR SIMILARITIES. THE DRAMA OF THE PRESENTATIONS IS IN CLOSER CONTACT WITH THE PUBLIC IN BO BARDI’S PROJECT, THE STREET SEEMS TO INVADE THE STAGE SPACE, PROMOTING A DEMOCRATIC THEATER AND BRINGING THE CITY INSIDE. THE TEATRO OFICINA UZYNA UZONA, POPULARLY KNOWN AS TEATRO OFICINA, LOCATED ON THE CENTER OF SÃO PAULO, WAS FOUNDED IN THE 1960S BY JOSÉ CELSO MARTÍNEZ CORREA, ACTING AS MANIFEST THEATER MARKED BY GREAT SHOWS AND THEATRICAL PRESENTATIONS, MUSIC, DANCE, AMONG OTHERS. LINA BO BARDI, THE ARCHITECT RESPONSIBLE FOR THE RENOVATION OF THE THEATER, TRIED TO REAFFIRM THE IDEA OF A RAPPROCHEMENT BETWEEN CULTURE AND SYMBOLISM IN ARCHITECTURE. THE ARCHITECTURE MAKES THE VIEWER LOOK FOR NEW POINTS OF VIEW TO THE SHOW, UNDER DIFFERENT LEVELS AND ROUTES. FROM THIS, PERHAPS PECULIAR TO THINK THAT THE SPACE ALLOWS THE VIEWERS TO CONCEIVE THEIR OWN LOGIC, INDIRECTLY PARTICIPATING IN THE THEATRICAL EXPRESSION. PUBLIC SEEMS TO BECOME PART OF THE STAGE COMMEDIA DELL'ARTE IS TYPE OF POPULAR THEATER BORN IN ITALY DURING THE MID 15TH CENTURY. MIXES ELEMENTS OF ITALIAN RENAISSANCE WITH CARNIVAL TRADITIONS BROUGHT THE PROFESSIONALIZATION OF ACTORS AND THE CREATION OF STABLE COMPANIES THE PLOTS RECOUNTED THE ADVENTURES AND VICISSITUDES OF ARCHETYPES FROM THE SOCIAL ENVIRONMENT. THEY WERE CARRIED OUT BY THE SERVANTS, WHO EMBODY TYPICAL CHARACTERS CALLED “STOCK CHARACTERS” AFTER ITS DISAPPEARANCE IN THE 19TH CENTURY, IT CONTINUED INFLUENCING GENRES SUCH AS PANTOMIME AND STEREOTYPE MELODRAMA. AT THE END OF THE 20TH CENTURY, WAS RECOGNIZED AS A DIDACTIC MODEL, IN THE IDEOLOGY OF A COMPLETE THEATER RECOVERING THE POWER OF GESTURE AND IMPROVISATION THE PLAYS OF COMMEDIA DELL'ARTE WERE OFTEN PERFORMED BY A SMALL GROUP OF ACTORS WHO TRAVELED AROUND AND PERFORMED IN TOWN SQUARES. THROUGHOUT TIME, SATYR PLAYS STRATED TO BE PERFORMED OUTSIDE OF THE FESTIVAL OF DIONYSUS AND WERE NO LONGER SUBJECTED TO JUDGMENT AMONG OTHER PLAYS. SATYRS AND COMEDIES BECAME MORE RELEVANT WITHIN THE THEATRE COMMUNITY IN THE 430S. SATYR PLAYS DID HAVE SOME INFLUENCE ON OTHER FORMS OF PERFORMANCE AS WELL; THE MOST NOTEWORTHY IS MIDDLE COMEDY THE ORIGINS OF THE SATYR PLAYS CAN BE TRACED TO ANCIENT RURAL CELEBRATIONS IN HONOUR OF THE GOD DIONYSUS IT RELATES BOTH TO COMEDY AND TRAGEDY BUT HAS AS UNIQUE FEATURE THE CHORUS OF SATYRS WHICH EMBODY SEVERAL SEXUAL AND ESCHATOLOGICAL REFERENCES WOODEN WALKWAY/STAGE (1.5MX50M) WATERFALL UP TO 350 SEATS SPECTATORS SPECT-ACTORS THE THEATRE OF CRUELTY, DEVELOPED BY ANTONIN ARTAUD, AIMED TO SHOCK AUDIENCES THROUGH GESTURE, IMAGE, SOUND, AND LIGHTING. THE AUDIENCE SHOULD BE PLACED AT THE CENTER OF AN EMPTY ROOM, NO SETTING, ONLY MASKS AND PROPS FOR THE ACTORS. THERE WAS NO CONVENTIONAL STAGE, THE ACTORS PERFORMED AROUND THE AUDIENCE ENGULFING THEM IN A “VORTEX” IN WHICH THEY WOULD GET TRAPPED. THE THEATRE OF CRUELTY IS BOTH A PHILOSOPHY AND A DISCIPLINE. ARTAUD WANTED TO DISRUPT THE RELATIONSHIP BETWEEN THE AUDIENCE AND THE PERFORMER. THE ‘CRUELTY’ IN ARTAUD’S THESIS WAS SENSORY, IT EXISTS IN THE WORK’S CAPACITY TO CONFRONT THE AUDIENCE AND CONNECT WITH THE SENSES TO WAKE UP THE NERVES AND THE HEART. HE BELIEVED GESTURE, LIGHTS AND SOUND TO BE MORE POWERFUL THAN TEXT AND WORDS. THE PRIMARY GOAL OF THESE PERFORMANCES IS THE PROCESS NOT THE FINAL RESULT. ENCOURAGES THE PARTICIPANTS TO HAVE AN ATTITUDE GOING FROM A VIEWER TO AN ACTOR. THE ACT OF ACTING BRINGS A CRITICAL VISION OF REALITY RATHER THAN BELIEVING EVERYTHING THAT SHOWN. THE IDEA OF THE LEHRSTÜCKE WAS TO ADAPT AND IMPROVE THROUGH EACH PERFORMANCE. BRECHT WOULD USE THE PARTICIPANTS FEEDBACK TO EMPLOY THEM ON THE NEXT ROUNDS. THE LEHRSTÜCKE IS A FORM OF THEATER CREATED BY BERTOLT BRECHT DURING THE 1920S AND 1930S. IT COMES FROM THE EPIC THEATER BUT HAS AS A CORE THE IDEA OF LEARNING THROUGH ACTING THIS LEARNING PROCESS ERASES THE DIVISION BETWEEN AUDIENCE AND ACTORS SINCE EVERYONE CAN PARTICIPATE AND LEARN BY PRACTICING. CARDBOARD CITIZENS BECAME INDEPENDENT IN 1995 AND NOW A SUCCESSFUL COMPANY TOURING THE UK AND PERFORMING AT THEATERS, PRISONS AND COMMUNITY CENTERS. THROUGHOUT THE YEARS IT HAS COLLECTED SERIES OF ACCLAIMED PIECES. CARDBOARD CITIZEN IS HOMELESS PEOPLE THEATER COMPANY IN THE UK. IT FOLLOWS THE THEATRE OF THE OPPRESSED METHODOLOGY AND WORKS WITH PEOPLE LIVING ON OR ARE AT RISK OF LIVING ON THE STREETS. THE IDEA TO GIVE THESE PEOPLE AN OPPORTUNITY TO DEAL AND CONFRONT OPPRESSION. IT WAS FOUNDED IN 1991 BY ADRIAN JACKSON. THE TRIADISCHES BALLET WAS DEVELOPED BY OSKAR SCHLEMMER IN 1921 WHILE HE WAS AT THE BAUHAUS SCHOOL THE CHOICE OF PANTOMIME AND BALLET WAS MADE BECAUSE SCHLEMMER CONSIDERED IT TO BE A NEUTRAL VEHICLE TO EXPRESS THE HUMAN BODY AS A MEDIUM FOR ART. THE PIECE CONSISTED OF THREE ACTS WITH THREE PARTICIPANTS EACH. EACH ACT HAD A DIFFERENT COLOR AND MOOD. THE CHOREOGRAPHED MOVEMENTS AND THE FIGURINE WHICH ABSTRACTED THE HUMAN BODY SERVED TO EMPHASIZE THE ARTIFICIAL THROUGH THE HUMAN. SCHLEMMER CLAIMED THAT THE CHOREOGRAPHED MOVEMENTS WERE A SYNTHESIS OF THE TWO REINING FORCES IN THE WORLD; THE MECHANIZATION AND THE PRIMORDIAL IMPULSES. 1970 VIRTUAL REALITY IS ALSO A MEANS OF CREATING PERFORMANCES. WITH IT, ONE CAN MIX PHYSICAL AND VIRTUAL, REAL AND DIGITAL AND CREATE VERY INTERESTING OUTCOMES. WHAT MAKES VIRTUAL PERFORMANCES SO INTERESTING IS THAT THEY DO NOT REQUIRE PEOPLE TO BE PHYSICALLY TOGETHER FOR THEM TO HAPPEN. CAN REUNITE THOUSANDS OR MILLIONS OF PEOPLE WITHOUT THE NEED OF ORGANIZING A SPACE TO FIT ALL OF THEM. VIRTUAL PERFORMANCES BECAME ESPECIALLY POPULAR DURING COVID-19 WHEN EVERYONE WAS TRAPPED AT HOME AND AGGLOMERATIONS COULDN'T HAPPEN. WAS WAY OF TACKLING THE HUMAN NEED FOR INTERACTION WITH OTHERS WITHOUT PUTTING PEOPLE’S HEALTH AT RISK. VIRTUAL PERFORMANCES ONLY REQUIRE AN INTERNET CONNECTION AND A DEVICE (PHONE, LAPTOP, TABLET) AND ARE THEREFORE EASIER AND QUICKER TO ORGANIZE THAN OTHER TYPES OF PERFORMANCES. NEVERTHELESS, PERFORMERS AND ARTISTS CAN USE THEIR IMAGINATION TO CREATE ENVIRONMENTS AND ATMOSPHERES THAT WILL BE TRANSMITTED TO THOUSANDS OF PEOPLE AT THE SAME TIME. THE FACT THAT IS NOT NECESSARY DOESN’T MEAN THAT STAGE DESIGN, FIGURINE AND DECORATION AREN’T USED IN VIRTUAL PERFORMANCES. 2010 STREET PERFOMANCE LIBERATION THROUGH PERFORMANCE STREET PERFORMANCES HAVE BEEN HAPPENING SINCE ANTIQUITY. THE ARTIST OR GROUP OF, HAS THE FREEDOM TO CHOOSE WHERE, WHAT AND FOR HOW LONG THEY PERFORM. USUALLY THERE IS AN INFORMAL “AGREEMENT” THAT THE PUBLIC WILL GIVE SOMETHING (MONEY, FOOD, CLOTHES) IN RETURN FOR WATCHING THE SHOW. THESE PERFORMANCES EXIST IN MANY PARTS OF THE WORLD AND EACH CULTURE HAS DIFFERENT VARIATIONS OF IT. IS BELIEVED THAT WESTERN STREET PERFORMANCES STARTED IN THE ROMAN EMPIRE AND SPREAD TO EUROPE FROM THERE. STREET PERFORMANCES ARE ALWAYS UNDER THE RISK OF BEING PUT DOWN BY THE POLICE OR THE RULING FORCE SINCE MOST OF THEM HAPPEN INFORMALLY AND SOMETIMES EVEN ILLEGALLY. IN JAPAN, THE CHINDONYA USED THEIR SKILLS FOR ADVERTISING, TYPE OF PERFORMANCE THAT CAN STILL BE SEEN NOWADAYS. NANKIN TAMASUDARE ANOTHER TYPE OF JAPANESE STREET PERFORMANCE IN WHICH THE ARTIST CREATES LARGE FIGURES WITH A BAMBOO MAT. ONE-MAN BANDS ARE TYPICAL FORM OF STREET PERFORMANCE IN EUROPE AND THEY WERE VERY POPULAR IN THE 19TH AND 20TH CENTURIES. IN THEM, ONE MAN PERFORMS MANY INSTRUMENTS AT THE SAME TIME GIVING LISTENER THE IMPRESSION THAT HE IS WHOLE BAND. GLORIA SCHONBURG & AHMAD ZEIDAN IMAGE THEATER FORUM THEATER
THEATER OF THE OPPRESSED THEATER OF CRUELTY EPIC THEATER STREET PERFORMANCE COMMEDIA DELL’ARTE SATYR PLAY LIBERATION THROUGH PERFORMANCE GLORIA SCHONBURG & AHMAD ZEIDAN CONTAGIOUS LIBERATION - THEATER PARASITE BOTH SIDES ARE DESIGNED AS A SPACE CAPABLE OF MUTATING AND ADAPTING TO DIFFERENT USES THAT ALLOW FOR CONTEMPLATION FROM DIFFERENT PERSPECTIVES. PEOPLE CAN ACT AS THEY PLEASE SITTING, STANDING, LYING DOWN, DANCING, SINGING, PLAYING, JUMPING, WALKING, THE DESIGN WILL BE ENCOURAGED PEOPLE TO BECOME PART OF PERFORMANCES AS ACTIVE VIEWERS WHO CAN ANALYZE THE OTHER SIDE OR HIS SIDE FROM VARYING PERSPECTIVES. THE MIX BETWEEN THE AUDIENCE AND THE ACTORS MAKE MINIMIZES THE DISTANCE WHICH CAN CREATE ASENSE OF JUDGMENT AND CATALYZE PARTICIPATION OR SPARK CREATION IN A NEW SOCIAL ENVIRONMENT APPROACH. THE STEEL STRUCTURE OF THE BUILDING WAS MAINTAINED AND CAN NEST WOODEN PLANKS THAT SERVE AS TEMPORARY FLOORS FOR PERFORMANCES. THESE PLANKS CAN BE PLACED WHEREVER THEY ARE NEEDED CREATING DIFFERENT CONFIGURATIONS OF SPACE. IN ADDITION, THE WOODEN MODULAR UNIT CAN CREATE MULTI DIFFERENT TO USE TO SIT, STAND OR PERFORM, ETC. LIBERATING ACTS CAN CHANGE THE SOLID REALITY OF THE BUILDING AND ENABLE PEOPLE TO FEEL DIFFERENT THINGS IMPACTING THEM EVEN MORE THROUGH THE LIVED SPACE, NOT ONLY THE PERFORMANCE IN IT. FABRICS WERE USED AS WALL SEPARATORS BETWEEN THE PERFORMANCES SPACES AND OTHER SPACES OF THE BUILDING, THE PARTITIONS ARE SPACED HORIZONTALLY TO CREATE ENTRY OPENINGS FOR THE AUDIENCE OR PERFORMANCE AREAS, AND THE FABRICS MOVE CONTINUOUSLY BETWEEN THE FLOORS VERTICALLY THROUGH CIRCULAR ROLLERS THAT MAINTAIN THEIR CONTINUOUS MOVEMENT IN AN ORDERLY AND SMOOTH MANNER BETWEEN THE STEEL BEAMS OF THE STRUCTURE OF THE BUILDING. LIBERATION THROUGH PERFORMANCE GLORIA SCHONBURG & AHMAD ZEIDAN CONTAGIOUS LIBERATION - THEATER PARASITE
CASA TROPICAL
Manaus, Brasil
Primavera 2023
Prof. Javier García-Germán and Ferran Vizoso
Universidad La Salle Ramon Llull
Equipo: Gloria Schönburg, Owbai Bader
La Casa Tropical está situada en la selva amazónica y está diseñada para adaptarse al duro clima utilizando técnicas pasivas como la elevación desde el suelo, aberturas en el tejado para la refrigeración pasiva, ventilación cruzada y elección de materiales de baja masa térmica. El análisis del clima con el programa Climate Consultant fue un paso crucial para comprender las zonas de confort y buscar distintas estrategias de diseño. Elaboramos dibujos que ilustraban los impactos del calor, la humedad, el viento, la sombra, etc., en distintas situaciones cotidianas para visualizar los comportamientos climáticos. El resultado fue una casa adaptada a un clima cálido y húmedo, capaz de ventilarse y mantenerse fresca sin necesidad de refrigeración activa.
DRINKING TACACÁ IN THE AFTERNOON
HUMAN BODY TEMP. 36.5º C SOUP TEMP. 75º C AIR FLOW 32º C AIR FLOW 30º C SOUP POT TEMP. 95º C HIGH THERMAL MASS WALL 25ºC TREE SHADOW EATING SOUP CAUSES BODY TEMP. TO RISE AND PRODUCES SWEAT WHICH WHEN EVAPORATES COOLS DOWN THE BODY WALL HIT BY THE SUN 28ºC EVAPORATIVE COOLING
HEAT RADIATION 15 PASSIVE DESIGN STRATEGIES VERNACULAR ARCHITECTURE OCA CLIMATIC LOGIC ENVIRONMENTAL LOGIC PROFESSORS FERRAN VIZOSO & JAVIER GARCIA-GERMÁN MASTER IN INTEGRATED ARCHITECTURAL DESIGN 2023, LASALLE GLORIA SCHOENBURG & OWBAI BADER TALL CEILING SUCKS HOT AIR UP AND IT GOES OUT FROM AN OPENING ON THE TOP TWO PARALLEL DOORS ENCOURAGE CROSS VENTILATION PALM LEAFS CREATE A STRONG SHADOW INSIDE COMPRESSED EARTH FLOOR ACTS AS HIGH THERMAL MASS COOLING VERNACULAR ARCHITECTURE’S ADAPTABILITY TO CLIMATE
21 PROTOTYPE SECTION CLIMATIC LOGIC ENVIRONMENTAL LOGIC PROFESSORS FERRAN VIZOSO & JAVIER GARCIA-GERMÁN 22 PROTOTYPE EXPLODED AXONOMETRIC CLIMATIC LOGIC ENVIRONMENTAL LOGIC MASTER IN INTEGRATED ARCHITECTURAL DESIGN 2023, LASALLE GLORIA SCHOENBURG & OWBAI BADER Double
roof system Internal bamboo structure
23 PROTOTYPE ELEVATION & MATERIALS CLIMATIC LOGIC ENVIRONMENTAL LOGIC PROFESSORS FERRAN VIZOSO & JAVIER GARCIA-GERMÁN MASTER IN INTEGRATED ARCHITECTURAL DESIGN 2023, LASALLE GLORIA SCHOENBURG & OWBAI BADER 25 PROTOTYPE VISUALIZATION CLIMATIC LOGIC ENVIRONMENTAL LOGIC PROFESSORS FERRAN VIZOSO & JAVIER GARCIA-GERMÁN MASTER IN INTEGRATED ARCHITECTURAL DESIGN 2023, LASALLE GLORIA SCHOENBURG & OWBAI BADER
Bamboo walls and louvered wooden windows Supporting bamboo structure with concrete footing
AMONG OUR THINGS
Madrid, España
Otoño 2020
Prof. Cem Kayatekin
IE University
Dibujos enviados a la Bienal de Arquitectura y Urbanismo de Seúl 2021
El proyecto encarna los conceptos de Identidad y Mutabilidad, facetas esenciales de la existencia humana. Mientras que la identidad proporciona estabilidad, la mutabilidad permite el crecimiento y la evolución.
Among our Things es un complejo de viviendas de alta densidad en el barrio madrileño de Almenara, que atiende tanto a estilos de vida nómadas como sedentarios. Las actividades cotidianas inspiraron el diseño de cinco objetos esenciales: La mesa, la cama, la alfombra, la bañera y la estufa, cada uno de los cuales sirve como espacio de expresión individual. Las unidades de vivienda son flexibles, rotan y combinan estos objetos para crear espacios vitales variados. Seis unidades de vivienda combinan zonas privadas y compartidas, con más espacios comunes para los nómadas y menos para los colonos. Las torres están construidas con una malla única de columnas, que permite configuraciones adaptables y amplia luz natural. Adaptándose a los cambios sociales, el complejo ofrece una base para el crecimiento personal, abrazando la impermanencia del mundo y celebrando al mismo tiempo la individualidad.
Aluminum Flashing Aluminum Gutter Timber Batten Timber Joist Exterior Timber Cladding Plywood Board XPS Insulation Interior Timber Finish Waterproofing Membrane Timber Batten Service Space Plaster Ceiling Steel Hanger Timber Joist Plyboard XPS Insulation Waterproofing Membrane Exterior Timber Roofing Steel Window Sill Window Sash Double Glazing (Low-E Glass) Window Frame Metal Blinds Rigid Woodboard Insulation Plyboard Vapor Barrier Dwelling Unit 2 People Detail Section Structure of the units plywood plywood panel Plywood Board (5cm) 5 Layer CLT Slab (16cm) Timber Floor Plank (2cm) XPS Insulation Wooden Joist (5x15cm) Glulam Beam (18x50cm) Steel Bolt Steel Column (20x20cm) PVC Membrane (Waterproofing) Interior Timber Finish (2cm) Timber Batten Exterior Timber Cladding (2cm) Timber Batten Service Space (8cm) Glulam Girder (18x60cm) Tubing
Floor 0 Floor 1 Dwelling Unit 3 People Floor 0 Floor 1 Dwelling Unit 3 People Floor 0 Floor 1
PROLOGUE MAGAZINE
Madrid, España
Sep. 2020 - 2022
Editora/Redactora
La revista Prologue, dirigida por alumnos del IE, profundiza en la arquitectura y el diseño con colaboraciones de estudiantes, profesores e invitados como Juhani Pallasmaa. Publicada anualmente, cada edición gira en torno a un tema central. En la edición de 2021, “Gravity for a Muse”, contribuí con un artículo titulado “Glimmer”, que explora la traducción de los sueños al lenguaje, complementado por el arte visual de Maria Antonia Franco. Además, colaboré en la revisión y promoción del artículo. En la edición siguiente, “Horas a través de un marco inmóvil”, entrevisté al artista brasileño Paulo von Poser sobre la ciudad de São Paulo, y comisarié la pieza final con sus pinturas y un mapa que hicimos en colaboración. Además de mis responsabilidades editoriales, participé en la organización de actos promocionales.
Schönburg
g.schonburg@gmail.com +34 697 650 360
Gloria