IĂąigo Duarte email@example.com 0034 690708446 Barcelona, Spain
Text adapted from the movie “Amelie Poulan”
On the first of March, 1990, at twenty-one twenty and thirty-two seconds, a small gnat of the Forcipomiya family, one of nature’s minor miracles, capable of 62.670 wing-beats per minute, landed on the main road in Mollerussa. At that exact moment, on the terrace of a restaurant, in a restaurant near the church, the wind ballooned a tablecloth and sent the glasses waltzing. There were no witnesses to this event. At the very same second, in Aragó street 236, fifth floor, of the Barcelona’s Example, Clara Martín, returning from the burial of her best friend Julia Bardo, erased the name from her address book. Still on that same moment a spermatozoon marked with an x chromosome belonging to Antonio Duarte, broke away from the pack
and reached the ovum belonging to Charo Fernandez. Nine months later came the birth of: Iñigo Duarte.
small. Sometimes he is Juan Pablo Castel and sometimes Publio Cornelio Escipion. He has a country: all of them.
Iñigo is quiet and has two sisters. His platonic love is Santnader, and walks its streets as a shiver walks a back. His goose bumps are moved by: Siza, Zumthor and Jørn Utzon. He dives in paper through extraordinary worlds.
Iñigo is the contradiction itself: he likes history because he forgets it; he likes time and likes to kill it. He doesn’t like: short nights, coffee or good-byes. Iñigo has teachers aged more than one hundred years oldI.
His bedroom in on the highest point of the highest peak of Pala Island.He likes the mountain and understanding the silence. When he runs, Iñigo feels good. His brain is excited by Lacaton and Vassal, Glen Murcutt or H architects. Kafka hates him, and makes him suffer.
His curiosity is called Eva and is an insatiable whore. He speaks Spanish, Catalan, English, Mimesh and some French.Google is to Iñigo as a ball is to a dog. His favourite courses at school were: psycohistori, technical drawing and dark blue. He loves people who fail, second chances and acidic apples.
Sometimes he is elated. He hates sales and sheep. There are pieces of his soul in Finland, London, Senegal, Corse and Barcelona. Shoes are forbidden at his place. Sometimes he is
“Possession of anything new or expensive only reflected a person’s lack of theology and geometry; it could even cast doubts upon one’s soul.” Ignatius Reilly - A Confederacy of Dunces / John Kennedy Tool
Does the program need a new building? Is the site the correct one? Is there any place near where the program can exist without the expenses of a new construction?
Final Degree Project / 2016
CIVIC CENTER IN BARCELONA As an alternative for the new construction commissioned by the Barcelona city hall, I propose to place the civic center inside the former water deposit of Trinitat Nova, less than 50 meters from the original plot. The main idea of the project will be minimum intervention, respecting the architectural ensemble, with high historical value, and only acting where absolutely neccessary in order to improve the habitability.
View of the library
The preexistence A chlorination pool and a pavilion whose use has changed several times make the most visible part of the ensemble, situated above the street level. The deposit extends beneath these two. Two service galeries (for the deposit and the cloration pool) make the last parts of the architectural ensemble.
The floorplan is achieved with a translucent closures system that respects the preexistence and maintains the unitary character of the space. The library is compact, with more permeable space for the workshops, surrounded by free appropriation spaces, which give support to the civic center activities. PLANTA e 1.500
LONGITUDINAL SECTION e 1.500
CROSS SECTION e 1.500
In the library, the ventilation and lighting system and the wood and glass closures articulate the space, creating a warm atmosphere in combination with the existing concrete. The translucent closures system is interrupted one every three pieces by a wooden module, which allows the LIBRARY VIEW
lighting and electricity system get from the wooden beams to the user level. With preexisting concrete and brick facing wood and glass from the intervention, a warm atmosphere is created, without changing the depositâ€™s original nature.
“It’s funny how the beauty of art has so much more to do with the frame than the artwork itself.” Víctor Mancini - Choke / Chuck Palahniuk
What resources are there near the site? Are they usable or useful? Can the transport expenses be reduced? Are the natural and enviromental conditions respected? Does it fit in?
Forest architecture / 2014
OVERLOOK IN FINLAND For the construction of an overlook in PyĂ¤jĂ¤rvi lake (Finland) local wood is chosen, coming from that same forest and produced by plant 1.2 km from the site. With this choice, besides improving the integration of the project with the surrounding landscape, the environmental impact of the construction is considerably decreased.
Public part. Faces the main view, acting as a frame for the forest and the lake. Its geometry is aimed to improve the experience of this view.
Private part. Subordinated to the main part. It is black. Shelters all the services and has a blind facade.
They coordinate between them on a clear hierarchy, creating a simple building in visual terms. One part for watch, one part for serve. The public part is at odds to the parking, not only to face the view, but also as a welcoming feature, leaving the purposeful side at a secondary position. An elevated walkway joins this two pieces, going into the woods and allowing a different forest experience.
â€œMade of dust and time, man lasts less than the light melody, which is only time.â€? El Tango / Jorge Luis Borges
How much extra energetic contribution does the building need in order to keep the comfort conditions? Can it be reduced? Can it be gained by renwable energy? How much energy is needed for its construction?
Bioclimatic architecture / 2013
The project stems from the idea of concentrating the functions within a small part of the house, creating on the other part a diaphanous area, which can adapt and change, opening or closing its limits to the exterior. The part where function is concentred must have a more stable behaviour, whereas the other one can have variable conditions.
40 cm thick adobe wall, with a 12 hour thermal lag. It acts as a thermal variation softener, absorving heat during the day and emiting it during the night. It is strategically placed on the functional area, where it will mitigate the energy gains created by the equipment and will give stability to the ensemble.
The bedroom is placed in the loft, an area that will accumulate hot air in winter, whilst in summer, thanks to cross ventilation and suction effect, the air will be quickly renewed.
Inside temperature variation grafic. In winter, without artificial energetic gains. !nterior Temperature Exterior Temperature Confort Temperature
30 28 26 24 22 20 18 16 14 12 10 8 6 4 2
d e 24
5 2 iclo c
The grafic, calculated with BalanĂ§ 72, confirms the correct energetic behaviour of the building. As it can be observed, the inside temperature is maintained at confort conditions through all the day. This cycle does not take into consideration the initial energetic contribution needed in order to achieve the inital optimum temperature.
The skin, derived from reused pallets, isolated with rock wool and finished with tranlucent polycarbonate 10mm, can open or close completely, being able to adapt to the outside climatic conditions.
â€œI have been in prison, I have undergone a hunger strike, suffered a divorce, assisted a dying man. Once I made a bomb. I dealed drugs. A woman left me, I left another one. My house was once burned, I have been robbed, I lived through a flooding and a drought, I once crashed my car. I had a friend killed who was buried by his killers in his own garden. I have met a man who killed another man, and another one who hanged himself. It is only an age matter.â€? Diaries 1999 - 2003 / IĂąaki Uriarte
How will the building be after __ years? Will it still serve the same people? Will it still give the same service? Will it grow? Will it change? Will it still be useful?
Arquia Scholarchip Contest / 2015
A TOWER FOR DREAMING With the given title “a tower for dreaming” the building proposed is organic, and grows parallel with its inhabitants. A tower built on a preexinsting structure by the addition of modules. This modules are completed by each family with their surrounding materials. “The people belonged to the tower, the same way that she belonged to them, they lived together on a perfect symbiotic relationship: it gave them shelter, protection, a home; they gave the tower food, allowed it to keep growing as an organic being in continuos dialog with time, with change.”
The tower, as it grows with its inhabitants, as it changes with them, never presents the same aspect. A constantly evolving building.
â€œArchitectural space becomes alive only in correspondence with the human presence that perceives it.â€? Tadao Ando
Is the geometry correct for its intended purpose? Is it the weight, the color, the size? Wich are the relationships between the different elements and their characteristics? Do these relationships serve the aim of the project?
Architectural Design/ 2015
CVIC CENTRE IN BARCELONA The project features simple solutions. Two characters (public and private) - Two volumes. The public is heavy, showy, big, attractive; the private is sheltered, warm, less visible, but equally important. With this approach we achieve an efficient simple building in balance with its surroundings.
Natural Light The main entrance space is lit with large south facing windows, consistently protected from overheating by the eaves.
The south facing skylights, combined with a faux traslucent ceiling, creates a light well, wich enables the polifunctional room to achieve the optimum amount of light for any activity.
The workshops open onto the private garden. The garden serves as additional space to the workshop whilst enhancing the overall esthetics The border of the garden (above), has been resolved by a smooth transition through the use of raw materials and a green slope.
Weight The main multi-purpose room makes a closed heavy volume (corten made) wich protects the entrance as well as the whole first floor (on the public part). On this first floor, all the walls to the main square are glass made. By this light-heavy dichotomy the entrance experience is improved, maximizing the efect when you enter to the main circulation space, after walking under this big heavy piece.
Composition The private facade where the workshops sit, is made on prefabricated white concrete, which avoids overpowering the main volume. At the same time, it makes this secondary volume visible, as the floor of the area is red.
Text adapted form the movie “Trainspotting”
Choose a life. Choose a job. Choose a career. Choose to go out. Choose a fucking big folder, nights awake and greaseproof paper. Choose the change: new cities and dark places. Choose a shit bedroom where sunlight never comes in, choose sharing expenses, dirty bathrooms and pizzas boxes. Choose to sit on a desk taking over the experience of fascinating brains, choose debate, doubt and scepticism. Choose music, chaotic schedules and wonder what the fuck are you doing three days before dateline. Choose to stay in bed, running away from the mediocre soliloquies. Choose to learn: hand luggage and shit buses. Choose you mom’s packages, weird languages and new friends.
Choose no to get old, choose to live changing. Be born with each idea, die with each idea and resurrect with each reality check. Choose earth or steel, old or ancient. Choose to start over once and again. Make the past worth and don’t disapoint the future. Choose to doubt everything. Always. People think it’s all about misery and desperation and death and all that shite, which is not to be ignored, but what they forget is the pleasure of it. Otherwise we wouldn’t do it. After all, we’re not fucking stupid. At least, we’re not that fucking stupid. Take the best orgasm you ever had, multiply it by a thousand and you’re still nowhere near it.
“Mi head is a dark maze. Sometimes there are some lightnings that iluminate some corridors. I never get to know why I do certain things.” Juan Pablo Castel - El Túnel / Ernesto Sábato
Which is the needed degree of privacy on each space, on each part of the project? Which is the character of each atmosphere in relation to the user with himself? Will I go there to be alone, to think, to meet friends? To meet new people?
Landscape Architecture/ 2014
SMALL PARK IN THE CAMPUS
A small park on the central space of the Tampereen Teknilinen University campus. A wood, concrete and vegetation structure is projected. Through a simple goemetry, it explores the different levels of privacy. From opened social spots, to small and sheltered spaces to find oneself.
â€œA Culture is born in the moment when a great soul awakens out of the proto- spirituality of ever-childish humanity, and detaches. lf, a form from the formless, a bounded and mortal thing from the boundless and enduring.â€? Oswald Spengler
Does the function need a long-lasting building? Will it still be useful once its main purpose is over? Will it be reusable? Will it be transportable? Will it be transformable?
Taller de Arquitectura y Proyectos/ 2012
A pavilion with no specific site, suitable for any kind of event. The design proposes a ephemeral space, easily detachable and transportable in only one day and for a reasonable price. Structure based on cross laminated timber portics which repetition creates a sieve that filters the light, creating different atmospheres inside the same diaphanous space through lighting.
â€œI call this atmosphere. When you experience a building and it gets to you. It sticks in your memory and your feelings. I guess thats what I am trying to do.â€? Peter Zumthor
Which materials are present on the space? Why? What relationships exist between those materials? Which are the proportions of the different elements and why? In which feelings are this relations translated?
AAC Arhitecture/ 2017
OPTICIANâ€™S SHOP IN BASTIA Refurbishment of an old property to turn it into an opticianâ€™s shop. The space is managed with a single central element, from where the functions develop. For this central element light materials are chosen, combined with mirrors to give spaciousness and vegetation. ELEVATION e 1.50
“Were it not for shadows, there would be no beauty.” In Praise of Shadows - Jun’ichirō Tanizaki
Which materials are present on the space? Why? What relationships exist between those materials? Which are the proportions of the different elements and why? In which feeling are this relations translated?
AAC Arhitecture/ 2016
JAPANESE RESTAURANT IN BASTIA A property with several spaces that present different characteristics, both in size and finnishings. In order to unify all this spaces a light metalic structure that encloses and unifys all the space as one is proposed. This structure incorporates the lighting system and part of the storage, and restaurant spots happen in relation to it.
ELEVATION e 1.50
INSIDE ELEVATION e 1.100
INSIDE ELEVATION e 1.100
Text adapted from the book “On Boxing” - Joyce Carol Oates
¿How can I enjoy such a challenging art?, people sometimes ask me. Or pointedly don’t ask. And it’s too complex to answer. In any case I don’t “enjoy” architecture in the usual sense of the word, and never have; architecture isn’t invariably sacrificate; and I don’t consider it an art. Nor I can think of architecture in writerly terms as a metaphor for something else. No one whose interest began as mine did, viscerally, is likely to think of architecture as a symbol of something beyond itself, as if its uniqness were merely an abreviation, or iconographic. though I can entertain the proposition that life is a metaphor for architecture - one of that buildings that move you, the ones that bother or the ones that produce indifference. Wall after wall, space after space, in which you see the wrinkles of the age, the excitation of the new, the serenity of the old.
Cold walls where, like on the rest of things, lost pieces of your insides and warm lights speaking about you are reflected. Atmospheres that force you, in a way, to comunicate with yourself —, that sort of hellish writerly metaphor. Life is like architecture in many unsettling respects. But architecture is only like architecture. For if you have seen five hundred buildings you have seen five hundreds buildings, and their common denominator, which certainly exists, is not of primary interest for you. “If the Host is only a symbol”, as the catholic writer Flannery O’connor once remarked, “I’d say the hell with it.”
firstname.lastname@example.org 0034 690708446 Barcelona, Spain