Architect Portfolio

Helena Rodríguez Martínez Portfolio

Helena Rodríguez Martínez Architectural Assistant

helenarodriguez.es@gmail.com (+44)07543308176 Flat 41 Banbury Rd, E9 7EB, London.

EDUCATION 2012-2019 2014-2015 2017 2019-2019

E.T.S of Architecture, University of Málaga |Degree in Architecture| University of Technology, Poznan, Poland |Erasmus Exchange Programme| University Mayor of Santiago de Chile |Exchange Programme| Final Diploma Porject |Outstanding|

WORKSHOPS 2016 2018 2019 2019

Internacional Cooperation with University of Málaga. The habitat of transhumant herders in the High Atlas, Morocco.

(CI018 / 2014) Two weeks.

Coordinator of the congress ‘TOURISCAPE’ - University of Málaga. International Congress transversal Turism & Landscape.

Course: Dynamisation of scenic spaces. Plan successfully. For the Thermal and the Master of Cultural Management UC3M Winner of a post for Campus Ultzama, Navarra, organized by the Spanish Foundation Arquitectura y Sociedad.

Humanize the city, helmed by Eduardo Souto de Moura and Francisco Mangado | 28 of June to 7 of July|

EXPERIENCE 2017 2018 2019 2019

Intership in Amunategui Valdés Architects. Santiago de Chile. August 2017 to November 2017.

Intership in Juan Moya Arquitectura. Granada. December 2017 to March 2018.

Collaborator at the University of Málaga. Chair of Innovation in Construction Materials (CIMC). March 2019 to June 2019 Witherford Watson Mann architects. London. September 2019 - current.

COMPETITION 2016 2018 2019 2020 2020

A secular chapel. Square of the Glories, Barcelona. Fundación Arquia. Honorable Mention Open call ‘Beyond the Centerline’. Park Avenue, Nueva York. Collaboration with http://www.juanmoya.com Degree Final Project Competition. Landscape category. Rethinking Competition. First prize Chapel on the Camino de Santiago. Hispalyt Ceramic Forum.

‘Architecture for the day after’ Cities after covid-19. Asemas.

SOFTWARE AutoCad. Photoshop. InDesign, Illustrator. SketchUp. Vray. Enscape.

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“Art and nature are brothers, branches of the same tree. And they are, above all, because of the inexplicable nature of many of their processes, mainly that of creation and also of the effects they produce in their respective audiences. “ The tree, John Fowles

Contents Thereses gate, OSLO Housing, Stage 2 , 2019

Pag 4

IABR - Water as Leverage, Rotterdam Competition for an exhibition in an industrial building

Pag 5

Courtauld Institute of Arts, Phase 2, London Heritage building, Stage 3, 2020

Pag 6

Hackney Wick, London Housing, Competition, 2020

Pag 7

Nettleham Hall, Lincoln Housing, Stage 3, 2020

Pag 8-9

Dríada, Vejér de la Contrera, Spain Residence for artist, Final Project Diploma, 2019

Pag 10-11

Swimming in the Dock, Málaga, Spain School project, Ephemeral Installation, 2016

Pag 12

The Forest Glade, Barcelona, Spain School project, Lay Chapel, 2917

Pag 13-14

From Atom to Molecule, Málaga, Spain School project, sanitary, 2017

Pag 15

The Water Tower, Málaga, Spain School project, hostelry, 2017

Pag 16-17

Research on transhumant communnities, South Atlas, Morocco Cooperation, 2016

Pag 18

Net-Box, Uthopical cities Competition, 2020

Pag 19

Chapel in the Way of Santiago, Santiago, Spain Competition, 2020

Pag 20

Other works

Pag 21-24

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OSLO Thereses gate is long and straight, sloping strongly up the bed of a now-buried stream. Like much of Oslo, it is lined with nineteenth century apartment buildings in earthy-coloured limewash whose design feels a little bit Parisian.

In this complex and layered situation, we have designed a project of densification, to add twenty apartments in a way that respects and works with the historic factory buildings.

Site Plan

Three existing industrial buildings

Four houses

A vertical village

South Elevation

East Elevation 4

IABR - Water as Leverage The role of the exhibition designer for the IABR is very practical but with emotional and social stakes.

Practically the scenography must: • subdivide the expanse of the Keilezaal and guide simple movement • separate noise and light from quiet and darkness • carve out space for talks and discussions • create breathing space • aggregate material received, not prescribe it Beyond this, the scenography should: • give shape to the tensions in the subject matter: excess and shortage • choreograph the relation of diverse scales and locations • make present what is absent: water, flows….

• ‘land’ this complexity in the Keilezaal, without undermining its rational clarity • generate an emotional or social charge, making the exhibition a deeply memorable experience - not just a book on the wall • invite engagement, exchange and action

FLOWS

FLOWS

FLOWS

FLOWS

Arrival and departure are defined by the new staircase, ascending through the tall central space.

To introduce the stakes, we are thinking to present graphically Sea levels from the geological record on one side, correlated with the corresponding CO2 levels on the other.

Without catastrophism, perhaps even with humour, we introduce the ‘verdronken dorpen’/ drowned worlds of past centuries.

A chandelier of plastic flotsam sets a water level up in the air. (like the beautiful installation, copied here)

WWM Architects

By adding further ‘low’ partitions on the east, south and westDivisions, walls, we maps, would models create acan ‘float’ in this imagined med ‘toothed’ perimeter That’s the prologue. To explain the main act, we’ll start with Bythe painting emptythe stage: floor, theand works the walls up to a horizon or tidemark, (we can use a Divisions protective wi between floor and walls that differentiated from – slower than –coating the columned centre already planned foristhe Keilezaal to allow subsequent removal) Created from pipes from stock As if following a different gr like a rugged, engineered These will insert an intermediate scale and speed within the hall – the partition We makecoastline along a tank of sorts, a space with a sense of pressure. from textile In this different forcefield, where everything follows These can be panelised likein breakwaters, gabioned sandbagged, then faced with a the daylight comes the north wall, 3.6 m high, and stepping By and screening out or puttingorfilm on the windows at low level, Stopping fromatabove the sa rules can be applied: finish only where required …like it does underwater This meandering spine woul maps, aerial photographs and models would only b - assisting their assembly and circular redistribution, and giving them substance.

In this muscular concrete building, only the solid and the insubstantial fit well (echoing horizontal or at a slight an - perspectives, photographs and films would b and counterpointing), The immaterial is out of place - text colour, keyed to map colours can be used to differ

example.

A simple return movement for visitors to mea

WWM Architects

WWM Architects

WWM Architects

WWM Architects 4

FLOWS

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COURTAULD INSTITUTE OF ARTS The Courtauld Institute of Art which occupies it is the UK’s smallest university, an institute dedicated to teaching and research in art history, conservation and curating; it also holds a remarkable collection of paintings, drawings and prints which is open to the public.

One of the spaces would be the Lecture Theatre. The existing lecture theatre was adapted in 1987 from the room originally intended for the Royal Society’s museum, and several adjacent secondary rooms. The laylight is of unknown date, and is incongruous with Chambers’ architectural design.

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HACKNEY WICK The three sites are at the heart of creating a lively neighbourhood centre that reinforces Hackney Wick’s distinctive sense of place. The proposals deliver the ambitions by: • making the North-South route a welcoming street with a lively mix of ground floor uses and well considered public realm improvements.

• mixing and stacking uses sociably with shared work-yards and residential courts fostering a sense of place and community cohesion.

• building with 21st century techniques (MMCs) whilst retaining the authenticity of the old industrial structures, respecting the heritage and context of the surrounding area with an emphasis on craftsmanship..

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NETTLEHAM HALL The proposal is for two family dwellings within the fabric of two existing but ruined historic structures.

Both dwellings maximise the retention and stabilisation of viable existing fabric to form houses with a loose courtyard arrangement.

The Hall will provide a five bedroom house, and the cottage a three bedroom house.

The site is now completely overgrown, but at its prime was a fine example of a Victorian country estate. In the post-1930 rental particulars it is described as: ‘Occupying an elevated position commanding beautiful views over a park, with Lincoln cathedral in the background. The house is approached by a drive through massive iron gates, and stands well back within its own grounds, completely screened from the road. The gardens and orchard extend to some 3 acres. The kitchen garden is walled and contains a greenhouse and prolific fruit trees.

Well removed from the house there is an excellent stone-built 5 roomed cottage, garage, stabling, saddle room, cart shed, foul house, kennels, etc.’

Before the fire

After the fire

The ruin

The approach Because it is not tied to the existing remains, the new rooms can have large windows to take advantage of the landscape views, and can have lower (but still generous) ceiling heights, simplifying the first floor levels.

WWM

Nettleham Hall 28.08.20

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t and liveability the contrast is strongest learest g kitchen in the Victorian bay reakfast room in the Georgian wing.

NETTLEHAM HALL

Because the plan folds around the old hall, and the new rooms have large windows, the kitchen looks across the garden to the living room, and the living room looks back across the garden to the kitchen

WWM

page 24

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DRIADA Residence for ten artist of Land Art in a pine forest from Andalucia, Spain.

The idea of walking to stimulate the creativity of the artist.

The landscape matters a lot.

It is important to avoid unbridled contrast, violent imposition, destruction.

Do not hurt a plant, or remove a blade.

Climb tiptoe by the earth, stay in the air, on the rockrose, without protruding between the oaks.

To be silent and alone in the silence in the middle of the light: before a still and serene world Fernando Higueras

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DRIADA

The shelters

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SWIMMING IN THE DOCK Temporary envelope in the city of Malaga. An ephemeral place is projected in which the senses are sharpened, perceiving the place in a different way.

I do not feel the solid presence that I call body.

I feel the sea, only the sea, that sea always beating.

Night Gabriel Celaya

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La propuesta de la plaza de las Glorias plantea pequeños espacios acotados e inaccesibles al público, espacios que contarán con una biodiversidad única y condensada, aportando al parque "micronodos" con condiciones térmicas, oníricas y cromáticas diferentes a las del resto del lugar.

Se proyecta desde el conocimiento del estado actual de la plaza y desde el respeto con el entorno del futuro, proponiendo una envolvente mínima del espacio natural, un lugar para pensar y evadirse en una ciudad acelerada. Una capilla que mire al origen del hombre y al equilibrio natural.

La estructura propuesta para conformar la envolvente de la capilla, basada en el concepto de tensegridad, admite cierto movimiento en su conjunto, permitiendo el crecimiento de las especies arbóreas de las que se envuelve con un mínimo impacto. Mediante tracciones en los tensores y compresiones en las barras la volumetría admite ligeros balanceos estructurales, manteniéndose siempre en equilibrio controlado por los tres empotramientos al terreno.

THE FOREST GLADE

SER UN ÁRBOL MÁS Posición inicial: vivero provisional

Prefabricación. Espacio adaptable y fácilmente transportable

Integración en el micronodo

The clearing of the forest is a center where it is not always possible to enter; from the edge you look at it and the appearance of some tracks helps us take that step. It is another kingdom that a soul inhabits and keeps. Some bird warns and calls to go to where it goes marking his voice. And he obeys it; then nothing is found, nothing that is not an intact place that seems to have opened in that single moment and that will never happen like that.

Maria Zambrano

ACOTANDO EL AIRE

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THE FOREST GLADE

Planimetry of the Chapel

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FROM ATOM TO MOLECULE Metal mirrors, masked mahogany mirror that in the mist of his red twilight fade that face that looks and is looked, Infinity I see them, elementals executors of an old covenant, multiply the world as the act generative, insomniac and fatal.

Jorge Luis Borges

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THE WATER TOWER Proposal for the first high-rise building for hospitality in the city of Malaga. The project will try to be water too, looking for a structure, materiality and position that mixes with the environment and surrounds the tower in the humidity of the place.

A powerful drop of water is enough to create a world and dissolve the night. To dream the power, a drop imagined in depth is enough. The water thus dynamized is a germ; gives life an inexhaustible impetus.

Water and dreams Gaston Bachelard

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THE WATER TOWER

LA TORRE DEL AGUA Helena Rodríguez Martínez · TALLER II · Torre en el Dique de Levante PLANIMETRÍA III

SUITES

HABITACIÓN STANDART

ESCALA 1:50

ESCALA 1:50

LA MATERIALIDAD Tensores acero inoxidable pintados en blanco para la sujección de la malla

Malla de agua 50% para orientaciones Norte y Este o espacios más públicos

Malla de agua 65% para todas las orientaciones o privacidad mayor

Malla de agua 65% para orientaciones Oeste y Sur o privacidad mayor

Malla de agua 95% tensado para falsos techos

Vidrio curvo laminado e incoloro

Solado de hormigón pulido con áridos >Ø5mm y minerales

Tubos estructurales acero inoxidable

Pladur de yeso laminado color blanco

Policarbonato ondulado color blanco/transparente y translúcido

Tubos estructurales y bajantes de acero pintado en blanco

Tubos de policarbonato en distintos colores y transparencias

Agua de mar en los tubos para particiones interiores y refrigeración de la torre

LA HABITACIÓN ESCALA 1:50

La configuración del triangulado de la malla envolvente se rige siguiendo una jerarquía impuesta en el proyecto: orientación y privacidad en el habitáculo. Este alzado desplegado muestra la posición de la malla de una u otra transparencia en función del espacio que esté envolviendo. Se juega con la transparencia y con la separación de la malla respecto al forjado para crear estas sensaciones y esta protección

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RESEARCH ON TRANSHUMANT COMMUNITIES The transhumant communities of the Mgoun Valley in their seasonal movements cover a wide territory, ranging from the high peaks (around 3,500 m altitude) to the sub-Saharan mountain mass of the Jbel Saghro, with an approximate distance of one hundred kilometers between both areas.

These annual cyclical movements are conditioned by the harshness of the climate and the availability of pastures, so they need to move following the seasons in search of suitable places for livestock.

Establishment of a specific study base of a cultural reality that is not well documented and of great value and at risk of disappearance, in order to be able to establish international cooperation projects and actions in the area of study. ​​

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NET-BOX The new city of Net-Box, where each neighbourhood is self-sufficient. Its inhabitants no longer have to travel long distances to work, large companies have been decentralized and coworkers fill the streets.

The flows are reversed, the city is upside-down! The underground public transport network now supplies goods throughout the city, and residents have once again taken over its streets.

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CHAPEL IN THE WAY OF SANTIAGO In a light-reflecting wheatfield landscape, a linear fault breaks perpendicular to the pilgrims’ path.

Invites to enter.

In the distance a vertical element breaks the monotony of the yellow meadows.

The chapel emerges as an empty space on the ground, a crack that has to be crossed. The walker chooses walking as a step when meditating. Creation of a direct link between heaven, earth and the individual.

Ambigous light inputs by different games in the brickwork.

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STUDY FOR A TIMBER STRUCTURE

EL MONTAJE

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The imaginary houses is a personal project that starts with the idea of enlarge the imaginary of children.

Uthopical location where different individuals create their places where to live.

A house in an island.

A house in the moon.

A stair house, without beginning and end.

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TEXTILE WORKS

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DIGITAL DRAWING

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Acrylic and watercolor

PAINTING

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THANK YOU

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