Guillermo Hevia ’20 MSAAD Columbia GSAPP

MOVING BETWEEN DEVICES AND NETWORKS COLUMBIA GSAPP

GUILLERMO HEVIA GARCIA

NEW YORK

2019 - 2020

Moving between devices and networks

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Moving between devices and networks

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Sound Device & Sound Tower Advanced Studio 4

(AS4)

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Concave & Convex Wall Advanced Studio 5

(AS5)

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Plug-in Floating Communities Advanced Studio 5

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Deploying the Archive Advanced Studio 6

(AS6)

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10 Material Speculations Make - Visual Studies

(VIS)

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Archive of the built, a climatic response Research - Kinne Fellowship

(RES)

Archive of the forgotten Research - Repository of GSAPP work

(RES)

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(AS5)

Credits by project

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Advanced Architectural Design Graduate School of Architecture, Planning and Preservation 137

Columbia University

Introduction Moving between devices and networks One year ago, I thought that architecture was something mainly associated with the discipline, construction and materials were the tools to work with and the building was the scale an architect should speculate on. I also thought that architecture was something fixed, stabled, and rooted to the ground.

I never intend to learn the correct answers -I don’t believe that exists-, on the contrary, I intended to raise new questions. But what I didn’t expect to happen was the possibility of learning new vocabularies and new languages, that can allow articulating unthinkable speculations, arguments, and positions.

The new vocabulary acts very similar to reading and writing, a broader vocabulary allows to comprehend more complex works, and speculate by formulating much more complex pieces.

In architecture, a broader vocabulary allows expanding the knowledge and the scope of it, for instance, the diversity of scales that can be addressed. I discovered that architecture can be expanded to the device scale, that can shift our relationship with climate or the environment, and can relate us to the nonhuman and the non-living, two dimensions I never realized before.

I also discovered that architecture can expand to a network scale, meaning that buildings are not isolated entities, neither fixed. We can create and trace a whole new set of relationships and moving connections between scales, entities, communities, or institutions in the cultural, social, political, ecological, or economic dimensions. Expanding the vocabulary allows comprehending what before was impossible, and especially enables me to take new positions.

The building will always stay in the same place. Now I realized that I can be moving between devices and networks. Architecture can be unstable, ephemeral, or performative, and by so it can generate new changes.

In architecture, expanding to other languages allows to understand and get involved in a series of new discussions and dimensions that I didn’t get involved before, due to prejudices. Now I can unfold a whole new set of arguments, concepts, and authors, that will expand this network to generate new relations.

Architecture has a political and critical dimension I didn’t realize before, an economic connection to inquire, a social aspect that can unfold new dynamics, a technological component to expand the scope, an ecological value to address new standards and a climatic dimension to change the environment.

The new questions and positions are tested through design in a series of projects and research, understanding these formats as speculations that are in dialogue between them and with a larger network of concepts.

but interconnected dimensions and raise a critical position. The project creates a dialogue with Avant-Garde environmental responses, historical extractive processes, and a performative dimension of architecture.

Architecture is not a fixed and stable reality. The project Hudson River Plugin Floating Communities proposes a mechanism to shift the Hudson River oil industry that represents an environmental threat, for an economy based on local communities. A series of floating and moving buildings put in crisis the stable condition of architecture, and speculate upon the creation of a plug-in network that can understand culture as the generator of new conditions, and can be extended to different locations in the world. The project is very tied to an exploration upon new living spaces that are addressed through a system of moving Concave & Convex walls that questions the binary division between living and working. The project creates a dialogue with existing floating, but not moving, communities around the world, and a series of buildings that saw flotation as a new position in architecture.

Architecture can be understood as a vehicle to decentralize memory. The project Deploying the Archive is a series of new archival structures that are combined with social programs to shift these centralized structures and expand them to the rural cities of the Spanish back of the house. The project criticizes the political and economic centralization of Spain and founds in architecture the vehicle to generate justice, by using the existing structures of the bullrings, a memory device, to unfold typological variations of a series of hanging asymmetrical structures. The new Archives will create a network of complementary programs that can be extended to other rural communities to respond to the local needs by creating new cultural and economic dynamics. The project creates a dialogue with territorial productive industries and dynamics, speculative networks, and historical archives.

The project 10 Material Speculations understands material not as a response to other architectonic needs but as a fruitful experimental realm in itself. By the act of making materials such as concrete, plastic, metal, wood, or fabric are transformed and rethought through a series of operations.

The research Archive of the built, a Climatic Response, understands Chile as a unique example of climatic diversity, which echoes in a diversity of climatic responses through exemplary anonymous projects that addressed programmatic, social, political, economic, productive, constructive, or ecological agendas, that should inform projects and shift the obsolete relationship architecture in Chile has created with the landscape.

The Archive of the forgotten understands all the drawings an arguments, that were relegated during the design or edition process, as starting points that can unfold new concepts and arguments for future projects.

Architecture is not an isolated reality, it can be tied to politics, economy, nature, or society that are in direct relationship with strata. The project Sound Strata: Sound Device & Sound Tower is a transscalar approach from a device and a tower that enables us to address sound as the reflection of these different

My position to start new speculations will be the in-between, the one that considers Practice and Theory as two sides of the same coin, a new milieu to enhance new debates that should allow the comprehension and extension of the current times, resulting in projects as new cultural, social, political, economic, ecological or climatic agents.

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SOUND STRATA

Sound Device Sound Tower

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AS4

Project - Research

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Sound Strata

The project presents both an individual and a collective comprehension of sounds, in order to generate new questions and discussions regarding this invisible reality turning visible, and its relationship with the city, more understood as ongoing projects.

The project proposes simultaneously two associated architectural artifacts, on very different scales. One is related to the body scale, understood as a sound device, and the other is related to the building scale, as a performative tower.

The sound device brings into discussion the idea that a city experience can be modified and transformed in relation to the sound and noise, and pursue to evidence this in a physical way.

AS4

The other scale is more related to a performative tower which is structured through a series of bubbles layers that make visible the taxonomy of sounds that we propose. These bubbles are inflated/deflated in relationship with the sound levels of the city, a converter system is able to associate them with a specific volume of air, and with the sound source which is rendered by different colors associated to the taxonomy.

Photo by Miguel de Guzman, courtesy of Columbia GSAPP

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Alexander von Humboldt Graphicine

Underground Mine Scheme Section

Greenside Mine Section - 1910

Japanese War Tuba 1932

The Dutch Personal Parabola - 1930

Frank Lloyd Wright The human insect expo 1957

Enzo Mari Aquatic Animals

Bellows Camara

Luigi Russolo Intonarumori

Archigram Montreal Tower Expo67

Jan Kaplicky Coexistence Tower - 1984

Norman Foster Collserola Tower - 1992

Aerostatiques

Hot Air Balloon Scheme and system

Hot Air Balloon with sail Scheme and system

Coop Himmelblau Villa Rosa

Haus Rucker Co Oase 7, Documenta 1972

Coop Himelblau Restless Sphere - 1971

Vladimir Tatlin Monument to the Third International Model

Banham & Dallegret A Home is not a House

Walter Pichler Portable Living Room

Haus Rucker Co Mind Expander - 1968

Coop Himelblau Astro Balloon - 1969

Lorenz Potthast The Decelerator Helmet 2012

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AS4

Sound Strata

Sound Strata Are we aware of all the layers that go beneath our feet and that make it possible to maintain our lives in cities? We can state that strata are associated with layers and can be understood as physic, geologic, conceptual, organic, economic, or sociologic realities.

The power of a country and its economy is directly related to the amount of energy they can generate and to the materials and resources they manage to transform. Strata play a key role in the cycle of extraction, production, and consumption of the economy. Sound and noises are at the same time very related to these processes, and with the life of a city.

Many of these resources come from the underground. As we can see, the soil is deeply related to economy and politics, as well as productive activities and natural resources that are located beneath our feet.

There is a direct correlation between the underground strata exploitation and the manifestation this has on the cities, being sound a good example.

We can state that cities, sounds, and noises are inseparable realities, and perhaps sounds, as a complex superposition of sources and levels, is a unique urban character that creates a specific soundscape, which is frequently able to determine the city’s experience. This immaterial reality can be understood as strata. Sounds can be good and noise can harm.

Concepts around sound and noise Sound is measured in two ways: loudness (dB) and frequency (Hz) Loudness is related to the level or volume we hear.

Frequency is related to the range of perception (if we can hear) The normal audible human frequency range goes from 20 Hz to 20,000 Hz and vary between humans and other species.

The source is not considered as a measurement input, and we believe that it might reflect a crucial layer of information.

New York sounds New York City is the 4th noisiest city on Earth, from levels that can go from 70 dB to even 120 dB in many parts of the city. Noise has become New Yorkers’ biggest civic complaint and a matter of public health.

Specifically, in New York, sound data is collected through live recordings and telephone complaints, which allows us to understand, but not visualize, the complexity of this immaterial reality through strata of sound, being objective and subjective at the same time. The most amount of complaints made in NYC are about noise, including vehicles, sirens, loud music, and construction.

All this noise cannot just be a coincidence, it is the reflection of much bigger and wider issues. Is noise the hearable reflection of Politics, Economy, or Power?

Every activity and action has consequences, one of them is sound.

AS4

Architecture can play a key role, through research and design to understand, process, and respond to sound. Architecture can be a relevant actor by creating new layers of information, exposing urban conflicts and actors, and by generating debates -through projects- allowing us to perceive sounds in new ways.

Sound and noises of New York

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Sound Strata Taxonomy of New York sounds We believe that only the level of sounds is not enough to render the conflict, we need to add the source to be able to visualize the entire strata composition.

The sound level is measured using live or recording devices spread along with strategic points of the city, that can process the sound and associate them with measurement information (dB). The source is related to the origin, who is responsible for producing sounds, which are not being considered as a relevant variable in the composition of noise strata.

Through an investigation on the different sources that produce the sounds of NYC we were able to categorize them within four major topics: Nature is related to everything non-human and non-artificial.

Society is related to people’s life and activities, it can be individual or collective.

Politics is related to system, structure, and authority that mediates in the city.

Economy is related to productive and profited entities and activities in the city.

With this information we propose a critical taxonomy of sound as a project, this data allows us to process, relate and make visible the various strata of sound, unfolding the source and its level or loudness (dB). We pursue enable an understanding and visualization of the sound reality in the city and its actors.

This taxonomy is the first step to have a real approximation that can be turned, by its criticality, into the facts that the project renders, exposes, and responds to.

The research project and design goals might be making visible the invisible in a new way. Transforming the immaterial in material.

The project critically presents information and facts, being able to expose the role that politics, economy, society, and nature play in the city sounds. As a consequence, this research is the input that informs and gives sense to the architectural devices that we propose.

We propose simultaneously two associated architectural devices, in very different scales. One is related to the body scale, understood as a personal device, and the other is related to the building scale, as a performative device understood as a sound lab.

Sound Strata - Sound Device The sound device put into discussion the idea that a city experience can be modified and transformed in relation to the sound, and pursue to evidence this in a physical way.

AS4

The device has two features, one able to invert the real sound perception of our surroundings, and transforming it, within the helmet, into an inverted soundscape.

If we are in the city, we can be perceiving a nature soundscape, and when we are in nature, we can be perceiving a city soundscape. The device is about proposing experiences.

The other feature is to understand that there are many sounds that we, as Sound Device Axonometric

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Sound Strata humans, can´t perceive, so we don´t have a complete experience of the city.

The device allows us to perceive invisible or unhearable layers of sound, by enacting our hearing sense as other non-human creatures, so we can have different experiences, related to different frequencies. There is a whole strata that we are missing due to our limitations that we want to discuss.

The sound device, as the avant-gardes movements from the ’60s and ’70s, pursue to reshape our relationship with our surroundings, understanding that a building is not the only valid architecture proposition or scale of action.

These experiences are achieved through an acrylic bubble that can isolate us acoustically, but not visually with our surrounding. An antenna or receiver can invert our perception, proposing new soundscapes as a collection of new experiences that are produced by different stereo speakers connected to a system receiver/converter. At the same time, a non-human hearing enhancer and a probe enable us to perceive new strata of sound.

Sound Strata - Sound Tower The other scale is more related to a performative tower, but not as a finished project, but rather as an adaptive open system that has an urban scale and an interior scale. Size, height, complexity, or bubble numbers can vary depending on the specific site or context.

The tower is structured through a series of bubbles layers that make visible the taxonomy of sounds that we firstly propose. These bubbles are inflated/deflated in relationship with the sound levels of the city, a converter system can associate them with a specific volume of air, and with the sound source which is rendered by different colors associated with the taxonomy.

The tower and its performance act as a movable mute witness of the city sound taxonomy which renders the city sounds into a visual device, making visible the invisible.

At the same time, the tower is understood as a sound lab, very related to an antenna that broadcast and receives signals from the city and the territory.

Its interior is a collection of sounds and situations encapsulated in every bubble, that gives the possibility to have a collective perception of sounds, related to a series of unfixed programs and layouts, enabling to experience and specific activity with a completely different sound, as the personal device enables to an individual.

These two architectural devices should be able to criticize the notion of sounds within the city, in order to produce consciousness and generate new discussions within society. At the same time, it should allow experiencing how the soundscape of the city varies as a living/moving element.

AS4

Can we design the sounds of a city? That might be the next step.

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Sound Strata

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Sound Strata

Taxonomy of sounds and noises of New York

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Sound Strata

System to collect and process the sounds of New York - Taxonomy - Output Device

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Sound Strata

Sound Device Model

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Sound Strata

Sound Device

Sound Tower

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Sound Strata

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Sound Strata

Ground Plan - Sound Tower

Generic Plan - Sound Tower

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Society Sounds - Plan and Program

Economy Sounds - Plan and Program

Politic Sounds - Plan and Program

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Nature Sounds - Plan and Program

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Sound Strata

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CONCAVE & CONVEX WALL

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Project - Research

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Concave & Convex Wall

The Concave and Convex wall will be an acoustic and projection device, from quiet to loud, from irregular to smooth, using different materials to produce and enhance the effects they meant to produce, quiet or loudness, irregular or smooth, archive or work.

The wall is understood as an operable device with a series of moving pieces that compose the whole and are able to change the space completely, allowing different programmatic configurations, rather than to be understood as a fixed boundary, with a series of different radios that are intersected between each other.

The proximity of these pieces configure spaces for working and for living, with different grades of intimacy and able to change the place they are being used.

The different radios of the niches create the possibilities to support different activities, related both to living and working.

AS5

The other side will be a smooth surface meant to be used as a projection or hanging surface, that also acts as a boundary.

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Concave & Convex Wall

Working - Social Space

Living/Working Deployed

Living/Working Collapsed

AS5

Living - Social Space

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Concave & Convex Wall

Speculative proposal of a series of Concave & Convex Walls in a building

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HUDSON RIVER FLOATING PLUG-IN COMMUNITIES

New York to Albany

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Project - Research

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Floating Plug-in Communities

The project begins understanding that art and artists’ communities are not static realities, they are always changing through time and adapting to new contexts, formats, ways of production, and exhibition.

The project will be a system composed of a series of floating buildings -over existing obsolete barges- that travel and anchor all along the rich milieu of towns and cultural institutions of the Hudson River. This system will be able to spread and replicate this communal system to other locations in the world.

The floating and moving buildings will integrate living, working and leisure programs, with different spatial configurations, being able to create a series of Plug-in communities that can replicate, grow, adapt and change over time.

The project proposes a new relationship of floatation that opens the idea of mobility.

AS5

This floating strategy will also allow the project to react to constant flooding that threats many towns along the Hudson due to the Global Warming effect and shift the Oil Industry of the Hudson River for new communal economies.

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Hudson River School Thomas Cole TheOxbow - 1836

Industrialization of the Hudson River

Storm King Art Center

Simon de Myle Noah’s Ark on Mount Ararat - 1570

Aldo Rossi Il Teatro del Mondo - 1979

Robert Smithson Floating Island

Flooding in Coxsackie 1896

Kisho Kurokawa Floating City Kasumigaura 1961

Cedric Price Potteries Thinkbelt - 1966

Spree River Swimming Pools - Berlin

Yellowknife Houseboat Community - Canada

Minga Chiloe Chile

Oil Extraction Infraestructure

Floating Village Halong Bay - Vietnam

Floating Islands of the Uros - PerĂş

Ohio Building San Francisco - 1915

John Brewer Reef Floating Hotel

Charles & Ray Eames Eames House Structure

Kiyonori Kikutake Aquapolis - 1975

River Barge Plan and section

Moving an 8 million pound heat recovery steam generator

Shigeru Ban Naked House - 2000

Antonello da Messina St. Jerome in His Study 1475

Concave & Convex Wall

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Floating Plug-in Communities

Floating Plug-in Communities If Hudson River once fed NYC with its abundant resources such as wood, bricks, water, and ice, nowadays NYC brings back to Hudson River a variety of activities such as tourism, culture, and art. Hudson Valley is no longer an extraction source but a cultural destination.

01. Moving art - Art as a changing reality The project begins understanding that art and artists’ communities are not static realities, they are always changing through time and adapting to new contexts, formats, ways of production, and exhibition.

The project aims in this direction and recognizes the intense history and artistic tradition of the Hudson River and Valley, beginning during the XIX Century with the Hudson River School until our times with a rich ecosystem of museums, institutions, galleries, and studios.

Rather than making a stable project related only to the town of Coxsackie, we propose an open system of living, working, and leisure units, able to move and anchor along the Hudson River.

The project will be a system composed of a series of floating buildings, that travel, and anchor all along with the rich milieu of towns and cultural institutions, and able to spread and replicate this communal system to other locations in the world.

02. Architecture without foundations Architecture might be usually associated with ground and foundations.

The project starts questioning this conception and proposes a new relationship of floatation that opens the idea of mobility. This principle allows us to understand The Hudson as the context changing the scale of interaction and relationship between artists and creators’ communities, not limiting them to towns, but as a growing -able to adapt- system.

Floatation allows us to understand the water as the site. The project will be built over barges, which are an existing very stable and large-scale floating devices, able to support more than 1500 tons and also to travel along low waters. The barge is a flexible and steady flat surface, like a site that floats.

This floating strategy will also allow the project to react against the regular flooding that affects the towns around the Hudson, which in the case of Coxsackie floods all the “site of the project”.

Global Warming is changing, due to most often flooding, the profile of waterside towns and cities; architecture will have to rethink its relationship to the ground and foundations in these areas.

One way of facing this unavoidable reality is trying to oppose it by building reinforcements against this phenomenon. The other will be to rethink and redesign through architecture, a new relationship to nature and climate.

03. An open progressive plug-in & plug-out System AS5

The project is proposed as a system and is ordered through a series of layers or stages, which allow introducing complexity to the whole and its parts, where the Project System Taxonomy

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Floating Plug-in Communities idea of openness and change are key values.

The first layer is the Barge. The project will propose a basic structure that will enhance the living and working community. The barge as a floating surface is the start to plug to the system, allowing a large range of plan proportions.

The second layer is the Plug-In Platform, an 8 m. side hexagonal anchored element that sets the rules of how the barges are connected and related between them and to the system. The platform has a double function being the communal space for the living units and able to turn the buildings into a cluster. At the same time, it holds the basic utilities such as electricity, water & sewer, and gas providing the barges an operative network to plug, fill up, and dump waste.

The third layer is the Structural Grid which sets the basic measures in plan and section, that will enhance the working and living experiences proposed by the project.

In plan, the columns are placed every 2 m. while the section varies, being 3 m. for the living spaces located on the first floor and 5 m. for the working spaces located in the public second floor.

The structural grid provides an order to the project, but at the same time allows a series of exceptions related to the way the interior relates to the exterior.

The natural light is a key element to artistic production and enables to set the atmosphere of the studio. The strategy for creating different light conditions is a series of skylights and Niche windows that frame the surrounding context creating new relationships.

The fourth layer is the Programmatic Mixture which is related to the building as a whole. A key aspect of communal living is a mix of different public and private programs to introduce complexity and diversity.

The project proposes two interior and two exterior units.

The first interior unit will be the Living/Working barges, alternating apartments on the first floor with its related studio on the second floor. The other interior unit will be a Public Interior for communal and public uses such as shared workshops, exhibition halls, library or dining areas, alternating single and double-height spaces to allow a mix of programmatic uses.

The first exterior unit will be a Public Exterior barge, which will have the structural grid as a frame to allocate lights, sound, and mechanical elements that will allow and enhance a communal event or a large-scale artistic exhibition. The other Exterior will be a series of platforms associated with Leisure uses such as pools, gardens, or orchards.

AS5

The fifth layer are the Technical Elements that allows living, create, craft and transport artworks, and are composed by Circulations such stairs, ramps, and bridges, and Machineries such as cranes and bridge crane that enable to work on large and heavyweight art pieces, to move and to load them onto other barges, in order to use the water as a way of transportation.

Plug-in proposal in the town of Coxsackie

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Floating Plug-in Communities 04. A growing -able to adapt- system The richness of the Hudson is the difference between all the towns in terms of demography, scale, urban characteristics, and cultural life. Following this idea, the project is a growing -able to adapt- system. The proposal can adapt in the long term to the scale of the town and can change, reprogram, or alternate, as the needs of a specific context might vary and evolve through time.

The proposal is also able to adapt in the short term and to change according to the climate stations or a specific calendar. Different times of the year will demand different community configurations or concentrations, following different cultural events, activities, or fairs, allowing everybody in the community to move along the different towns and cities.

05. A rich, complex and diverse Artistic Community The project doesn’t believe in specificity by segregating artistic mediums, supports, or ways of production, by the contrary it will tend to build a rich and complex community where different social and age groups (single, couples and families) live together, allowing to coexist different types of artists that work with different artistic approximations to create a rich ecosystem.

The project is designed to allow working on very different scales and materials, ranging from almost immaterial art such as media, sound, or video to large and heavyweight artworks that use complex machinery to be produced or transport.

The interrelation between all these worlds will ensure a rich artistic production and a diverse community that can nurture each other.

S M L and XL scale works and studios will be related to a different range of living units and apartments, with a variety of internal configurations, where the idea of mobility or flexibility are applied to change the living private space in order to turn it into a shared communal area with a series of moving and sliding walls.

06. Typological Investigations, pods, and walls The project alternate living units on the first floor with their related studios on the second floor. The basic element of the apartment is a 3-wall element (2x2x2 m.) called Living Pod, which gives support to fixed elements such as the utilities and allows them to hide the moving beds, dining table or sofa to transform the space according to daily routines, maximizing the useful area. The apartment can turn from full sleeping during the night, to full public during the day.

AS5

The studios also have different surfaces to allow the coexistence of artists with different spatial needs. The project doesn’t configure private studios, they all coexist under the same roof to allow free movement and enhance collaborative work. The private studio space is condensed in a basic sliding element called the Working Wall (4x1m.) having two sides, a working/storage niche, and a flat exhibition wall. The interior of the walls can be used as an office, a furniture, a library, or storage, depending on the artist’s needs. The arrangement of the sliding walls will allow having almost infinite studio configurations to turn it into a group exhibition space. Each pair of walls can be closed when they encounter each other.

Living and Working Typologies

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Floating Plug-in Communities

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Floating Plug-in Communities

Plug-in Communities along the Hudson River - Drawing from New York to Albany

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AS5 Type

Floating Plug-in Communities

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Floating Plug-in Communities

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Floating Plug-in Communities

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Floating Plug-in Communities

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Floating Plug-in Communities

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Floating Plug-in Communities

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Floating Plug-in Communities

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Floating Plug-in Communities

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Floating Plug-in Communities

Public Interior Model

Living - Working (B) Model

Public Exterior Model

Living - Working (C) Model

Other Programs Model

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Living - Working (A) Model

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Floating Plug-in Communities

Moving between communities through the Hudson River

Public exhibition spaces and internal clusters

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Floating Plug-in Communities

Living - Level 1 Plan

Living/Working/Public Section

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Floating Plug-in Communities

Working - Level 2 Plan

Living/Working/Public Section

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Floating Plug-in Communities

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DEPLOYING THE ARCHIVE CULTURAL DECENTRALIZATION THROUGH ARCHIVAL NETWORKS

Sacedรณn Pareja Salmeroncillo

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Project - Research

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Deploying the Archive

The project proposes cultural decentralization, and new development for the rural areas by reexamining the existing archiving culture in which large parts of the collections are kept in archives.

Among all the Spanish infrastructures spread along the territory, the bullring stands out as one that represents tradition and modernity, loaded with historical, political, and social values.

Utilizing the repetitive and constant configurations and dimensions of the bullring, the project proposes to build a network of Archives through the “Empty Spain�, to resignify both the Archive and the bullring.

AS6

The continuously expanding characteristics of archives become its main visible element, and it will be understood simultaneously as a growing system, a space for storage, and a place of experience. The project proposes that the archival structures will be complemented with other social programs for the use of the local inhabitants. In this project, the contemporary definition of an archive is defined not by the spaces of the information that it stores, but by the spaces of information that is deployed.

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Spanish Highway System

Joaquín Sorolla Storm over Pealara

Castilla - La Mancha Empty Spain

Pieter Bruegel The Tower of Babel - 1563

Simon de Myle Noah’s Ark on Mount Ararat - 1570

Engraving from Ferrante Imperato, Dell’Historia Naturale -1599

Infraestructure - Windmills Castilla - La Mancha

Infraestructure - Dam Buendía Reservoir

Infraestructure - Eolic Castilla - La Mancha

Superstudio Hotel Colosseo - 1969

Sir John Soane Museum London

Martín La Roche Performance Musée Légitime

Model of the Old Madrid Bullring

Francisco de Goya La Tauromaquía - 1816

Josef Albers Bullfight, San Sebastián 1929-1932

Robert Le Ricolais Traction Structure

OMA Downtown Atlethic Club

Bernard Tschumi Alfred Lerner Hall Circulation Diagram

Cedric Price Potteries Thinkbelt Overall Plan - 1966

Cedric Price Potteries Thinkbelt Master Diagram - 1966

Santiago Talavera Ecotopía postabolición 2015

Cedric Price Hair Tent - Amsterdam

Buckminster Fuller Dymaxion House - 1927

Jan Kaplicky Coexistence Tower - 1984

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Deploying the Archive

Deploying the Archive The history of Spain can be seen as a story of unification and centralization.

The story about the construction of a unified identity through symbols and infrastructures. This condition generated a division in which a few large cities are the main beneficiaries and for which the rest of the territory acts as the back of the house, enabling them to function properly.

The project territory contains almost abandoned villages around infrastructures, with practically no relationship to them, which despite being in use, are not able to mobilize the surrounding population.

In this territory we also identify the centralization of memory, where the majority of Spain’s cultural institutions are in Madrid, archiving culture, like Reina Sofia, El Prado, and Thyssen Bornemisza. Culture can be the ideal vehicle to promote decentralization, capable of mobilizing people and funding.

Decentralization of culture and memory To promote cultural decentralization, we propose to reexamine the existing archiving culture in which large parts of the collections are kept in archives, as is the case of 94% of Reina Sofia’s and El Prado’s total collection.

In the confluence of decentralization, identity, and memory, architecture emerges as the one kind of historical artifact that could not be archived only in the large cities. Where museums, theaters, and libraries may not be present, castles, monasteries, and churches are plenty.

Among all these infrastructures, the Bullring stands out as one that represents both tradition and modernity. An icon multiplied throughout the Spanish territory, an architectural typology with unique shape and measures, loaded with historical, political, and social values. Utilizing the repetitive and constant configurations and dimensions of the bullring.

Archive Network We propose to build a network of Archives through the “Empty Spain”, the Spanish’s back of the house, to create new opportunities in this territory.

From the constellation of villages and bullrings spread along with our fragment, we propose to create an initial network of 3 villages located within 10 km. radius to function as a larger entity. In these 3 villages, we propose 3 monuments to resignify both the Archive and the bullring.

In the future, this constellation can expand to other bullrings of this area, and even to the whole of Spain. These structures will create a new relationship between memory and intervention, a new symbol of the decentralization of culture.

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The structure in the town of Sacedon, will archive artworks, like graphics, paintings, sculptures, and photographs, from El Prado and Reina Sofía’s museums, decentralizing high culture. The structure in the town of Pareja, will archive documents, pieces, and elements of different infrastructures from the Empty Spain, decentralizing history and justice. The structure in the town of Salmeroncillo, will archive objects and memorabilia from the local rural communities and towns, decentralizing value and memory.

A bullring constellation through the Empty Spain

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Deploying the Archive Once the bullrings are resignified there will be new shared spaces between the three villages, a network that may contain a square, a garden, and a pool that will create a new relationship between humans and animals. What was once an arena for sacrifices, now is a space for healing.

The continuously expanding characteristics of archives become its main visible element, over time the building will expand in unison with its growing collection.

A new Archive typology The proposed Archive questions the existing typological conditions of archives, and it will be understood simultaneously as a growing system, a space for storage, and a place of experience. At the same time, the project proposes that the archival structures will be complemented with other social programs. These new mix-program structures will shift the current dynamics and economies of the villages. The traditional role of the archive as a single program is being rethought and extended to a new institution that shares and communicates this memory, by having a public role that is complemented with other social programs.

Instead of understanding the archive as a warehouse, in other words, a repetition of fixed and stable slabs, space will be altered to allow new spatial arrangements and programmatic configurations, in this case, a series of hanging asymmetric rings.

Deploying the Archive The archive will be understood more than just a storage of memory. A new curator and performer will be the subject in charge of socializing and democratizing the storage content in a series of intermediate spaces where the archive is being deployed, linking the non-human information with the human audience.

The public role of the archive will be understood as a living entity, not limited only to its continuous growth, but as the way, the information is being stored and represented constantly. The spaces will not serve only to one purpose, on the contrary, they will be able to be adapted to different conditions in order to maximize its use. The Archive will be complemented with programs related to lodging, leisure, health, education, or work. The interior will multiply the spaces to read, research, and interact with and within the information, the performative areas, and the complementary programs that generate a new institution.

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The circulation around the information and the other programs will be the input to link the different levels allowing a series of non-repetitive movements.

The building will be proposed as a continuous diagonal movement, instead of only a vertical one. The central space will house more public -but relatedprograms that will be linked to the archival rings.

The project can be understood not only as a stack of different levels of storage but as a whole single entity that is activated through the movement of people.

In this project, the contemporary definition of an archive is defined not by the spaces of the information that it stores, but by the spaces of information that is deployed and the programs that reinforce its publicness, making the new archive a complex social infrastructure.

Archives typologies and new network

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Deploying the Archive

Infraestructures of the Empty Spain

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Deploying the Archive

Typoligical Study of the Bullrings and case selection

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Cifuentes

Sacedรณn

Almoguera

Barajas de Melo

Brihuega

Pastrana

Trillo

Alcocer

Salmeroncillo

Torrejoncillo del Rey

Almonacid de Zorita

Villalba del Rey

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Deploying the Archive

Deploying the Archive

Archive in Pareja

Archive in Salmeroncillo

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Archive in Sacedรณn

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Deploying the Archive

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Deploying the Archive

Archive in Sacedรณn - General Section

Archive in Sacedรณn - Program Section

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Deploying the Archive

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Deploying the Archive

Archive in Pareja - General Section

Archive in Pareja - Program Section

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Deploying the Archive

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Deploying the Archive

Archive in Salmeroncillo - General Section

Archive in Salmeroncillo - Program Section

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Deploying the Archive

Foyer + Archive Plan

Hotel Plan

Reading + Meeting + Archive Plan

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Ground Level Plan

Deploying the Archive

Archive + Research Plan

Cowork + Exhibition + Archive Plan

Terrace Plan

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Social Space + Archive Plan

Deploying the Archive

Public Space - Programs + Archive

Bullring Level - Garden

Exhibition Space + Archive

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Bullring Level - Pool

10 MATERIAL SPECULATIONS

Make inverts the logical way in which research operates. Hypothesis - Thesis - Demonstration is inverted into Demonstration - Thesis - Hypothesis.

Time is understood as a limited and valuable resource. Making can be associated with experimentation, but I prefer to associate it with a series of operations that can turn raw or disposable material into a new entity or piece that allows having a conversation upon a new object.

The material needs to be rethought.

Concrete Plastic Metal Wood Fabric

The object (or the cube) is not the materialization of a theory, but a theory on itself, a starting point for new investigations to come. Each cube offers a new path that can lead to a lifetime investigation, perhaps here is where obsession plays a key role and can be understood as a positive conductor. Repetition can’t be reduced to two, but to many, this is just the introduction.

Objects are not results, hands are not tools, they are thinking agetns. Making propose the counterflow. The making process can be turned into instruction, but due to the personal subjectivity of each other, the object will always be something new and different.

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VIS

Material Speculation

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10 Material Speculations

02 Concrete

03 Plastic

04 Plastic

05 Metal

VIS

01 Concrete

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10 Material Speculations

07 Wood

08 Wood

09 Fabric

10 Fabric

VIS

06 Metal

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ARCHIVE OF THE BUILT, A CLIMATIC RESPONSE CHILE CHAPTER

Chile is a 4.300 km. long country, located in South America. This has the particularity to make it one of the few countries in the world that has a huge diversity of climates, meaning a large diversity of architectural responses.

Archive of the built aims to create a collection of anonymous non-studied built structures that are a clear response to climate.

Desert Semi-arid Mediterranean Temperate Oceanic Subpolar Oceanic Alpine

The Archive implies that this research project has a starting point: exemplary climatic responses, setting initial protocols without a known end, but open to future collaborations, additions, and reeditions, as a collaborative project.

Indigenous villages, defensive networks, social communities, productive structures, social typologies, political protocols or housing programs will comprehend this archive, that can’t be understood through the lens of heritage.

The 24 initial selected cases are smart responses to climate through programmatic, social, political, economic, productive, constructive, or ecological agendas, and by so their knowledge allows us to extend it to new projects.

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Archive - Research

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Archive of the built, a Climatic Response

Climates of Chile

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01 Tulor Community

02 Pucará Quitor

03 Jeré Gully

04 Zapallar Boulevard

05 Maitencillo Lookout

06 Quintay Community

07 Carvajal Stone Refuge

08 Farellones Stone Refuge

09 Colonial House

10 Santa Lucía Hill

11 Medialuna

12 Naltagua Foundry

13 Salinas Shed

14 Brick Kilns

15 Mapuche Ruca

16 Valdivia Fortresses

17 Klenner Shed

18 Wooden Saddles

19 Log Stackings

20 Illanes Shed

21 Wetzel Shed

22 Chiloé Fortresses

23 Aucar Island Walkway

24 Minga

24 Case Studies

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Archive of the built, a Climatic Response

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Archive of the built, a Climatic Response

Axonometric proposal protocol

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ARCHIVE OF THE FORGOTTEN

The process of working in architecture usually implies the generation of drawings and arguments, that are generally presented as something edited, coherent and critical, to make a statement or to take a position.

The “final result� tends to erase the process that was carried out, or just presented it as something instrumental to support the main argument, tending to transform the process into supportive diagrams.

On strata, climate and ecology A performative sound artifact Program relational fields Towards a floating community New modes of spatial living Resignifying memory and politics Typological taxonomy

What if every piece generated through the process is considered to be a final result, meaning no edition or subordination to other arguments?

Can we consider these drawings as starting points or pieces that can be turned into a collection for the future?

Archive of the forgotten is an effort to create a repository of forgotten ideas, drawings, and arguments, that tend to remain untraceable or deleted.

This archive allows me to use what it contains at any time and acts as a personal backup of the speculation involved in every project, a tracking device.

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Archive - Reseach

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Archive of the forgotten

Earth Strata and Sound Strata of New York

Mineral Strata and programmatic speculation

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Archive of the forgotten

A performative sound artifact

Program relational fields

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Archive of the forgotten

A contentious New York proyect, time layer analysis

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Archive of the forgotten

Towards a floating community

New modes of spatial living

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Archive of the forgotten

Resignifying memory and politics

Typological taxonomy

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Moving between devices and networks

CREDITS BY PROJECT

SPECIAL THANKS TO MY PROFESSORS

Sound Device & Sound Tower Project - Research Advanced Studio IV - Ambrosi Etchegaray Author: Guillermo Hevia, Azul Klix Location: New York, USA Year: 2019

Archive of the built, a climatic Response Research Kinne Fellowship Author: Guillermo Hevia Location: Chile Year: 2020

Concave & Convex Wall Project - Research Advanced Studio V - vPPR Author: Guillermo Hevia Location: Various Locations Year: 2019

Archive of the forgotten Project - Research Archive Author: Guillermo Hevia Location: New York, USA Year: 2019 - 2020

Hudson River Plug-in Communities Project - Research Advanced Studio V - vPPR Author: Guillermo Hevia, Alex Hudtwalcker Location: Hudson River, USA Year: 2019

Dialogues of the common, 5 Visual Essays Photography and Visual Studies Architectural Photography - Michael Vahrenwald Author: Guillermo Hevia Location: New York, USA Year: 2020

Deploying the Archive Project - Research Advanced Studio VI - Juan Herreros Author: Guillermo Hevia, Alex Hudtwalcker Location: Castilla-La Mancha, Spain Year: 2020

Conflicts around the WTC Hub Theory & Critique Transcalarities - Andrés Jaque Author: Guillermo Hevia, Christian Yulin Wang Year: 2019

10 Material Speculations Material Research Make - Ada Tolla, Giuseppe Lignano (LOT-EK) Author: Guillermo Hevia Location: New York, USA Year: 2019

2 Essays regarding program Theory & Critique Program (Practices) - Enrique Walker Author: Guillermo Hevia, Alex Hudtwalker, Azul Klix Year: 2019

Jorge Ambrosi Gabriela Etchegaray Juan Herreros Andrés Jaque Giuseppe Lignano Catherine Pease Tatiana von Preussen Jessica Reynolds Ada Tolla Pineda,

Bernard Tschumi Michael Vahrenwald Enrique Walker

Cliches, Minimalism and missing debates Theory & Critique Architecture. The Contemporary - Bernard Tschumi Author: Guillermo Hevia Year: 2020

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