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JUAN GRANERO MONEVA


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January of 2018, Madrid

To whom it may concern, I am pleased to write this reference at the request of Juan Granero. I have known Juan for two years in my capacity as a professor at the Escuela Técnica Superior de Arquitectura (ETSAM). Juan attended my class of Architectural Design 3 and earned superior grades in the subject. Based on Juan's results and class participation, I would rate his academic performance in my class as very good. On a personal level, I have advised his reflection about future studies, which gave me proof of his interest in studying abroad in order to complete his education in a holistic way. His hard-working attitude and eagerness to learn are the right ones to successfully complete his next academic and professional phase. In conclusion, I would undoubtedly recommend Juan Granero for this position and I am certain he will give evidence of his higher skills. Should you require any further references on the above matter, feel free to contact me at estudio@campobaeza.com Sincerely,

Professor Alberto Campo Baeza Architectural Design Professor, PhD Founder of “Alberto Campo Baeza Estudio de Arquitectura”


UNIVERSIDAD POLITÉCNICA DE MADRID ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA

January of 2018, Madrid

To whom it may concern, Juan Granero was tutored by me in “Architectural Design 5”, a core subject in the bachelor of Architectural design at the Technical Superior School of Architecture of Madrid (ETSAM). The course took place in Semester 2, February to May 2017 and focused on the “City of Madrid as an Archipelago”. Juan Granero presented well thought and precise design concepts fully linked to the context as far as redefinition of the existing is concerned. Moreover, he showed strong skills in conveying his ideas through designs and verbal presentations. I awarded Juan Granero a High Distinction for his project, the highest mark given at the Polytechnic University of Madrid. His hard-working attitude and ambition will undoubtedly lead him to realize his aspirations if given the opportunity. In conclusion, I have no hesitation in recommending Juan Granero to you and I believe he will contribute positively. Should you require any further information, contact me at tunon@emiliotunon.com Sincerely,

Emilio Tuñón Chair Professor Universidad Politécnica de Madrid Principal of Mansilla Tunon Architects and Tunon ArChitects

Avda. Juan de Herrera, 4. 28040 Madrid. Tels: +34 91 336 65 22/00 Fax: +34 91 544 2481 www.aq.upm.es


INDEX Academic, professional and competitions

01

02

DEATH LANDSCAPES

RESIDENZIALE ALESSANDRINO

03

04

CONCILIATION OF OPPOSITES

MEDIATECA

05

06

EPHEMERAL POPULUS

ATMOSPHERES

07

08

MERCADO MODELO

QATAR EMBASSY

09

10

84 SEMI-DETACHED HOUSES

MNEMOSYNE MUSEUM

11 PANOPTIC


01 DEATH LANDSCAPES CEMETERY - CREMATORIUM - ... Juan Herreros, Jacobo Garcia-German, Angel Borrego & Lina Toro Majaelrrayo, Guadalajara, Spain Dec 2018

P7

9/10

Rethinking the “Empty Spain” The exercise is formulated following Rem’s discourse of facing, from an architectural perspective, the tensions, inequalities and perversion of memory circling the socalled rural territory. Being a primary subject of debate in the last spanish democratic elections, facing the emptied countryside is a nowadays priority. The project follows the allegorical logic of a dying countryside, taking it to the extreme. What if the countryside turned itself into the dying opposition of the living hustle & bustle of our future Metropolis? The project implies a poetic response to the decreasingly perceived (but inexorable) question of death in a contemporary diverse society. In an effort to concile the different religious rites and secular beliefs, a series of structures are designed responding directly to their surrounding landscapes. An itinerary of death.

RHINOCEROS

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DEATH LANDSCAPES la muerte en una sociedad contemporánea

CAPÍTULO I Tanatorio. Semi excavado y semi volando. Contraposición. Vida-muerte. Fundamental para determinadas religiones. Juego de intimidades en su vivencia

CAPÍTULO III CAPÍTULO II

Espacio de espiritualidad común. Un espacio multirreligioso , una gran masa tectónica flotando sobre el paisaje. Luz, masa y geometría

Cementerio de arte. Tema central en la expresión histórica de la humanidad, se crea un espacio en que analizar los enfoques y contrastes.m

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CAPÍTULO IV Majaelrayo. Núcleo del recorrido donde se trata de identificar con la muerte, consiguiendo así una potencialidad industrial única en su entorno cercano Revisión de la arquitectura tradicional

CAPÍTULO V Crematorio. Puente sobre el arroyo. Estructura monolítica que proyecta la sección a la fachada Dicotomía en su necesidad

CAPÍTULO VI Espacio espiritual individual. Contrastes de oscuridad y luz, planicie y altura, rigidez externa y suavidad interior. Fuego y aire.

CAPÍTULO VII Cementerio y columbario. Semienterrarse para subrayar el paisaje mediante una pieza monolítica Cumplir los ritos funerarios de las distintas religionesy culturas.


02 RESIDENZIALE ALESSANDRINO 92 UNITS OF 100m2, 75m2, 50m2 & 25m2 Luigi Franciosini In collaboration with Andrea Ayra & Marcel Aloy Quartiere Alessandrino, Roma, Italy May 2018

Progettazione Architettonica 3 29/30

The site is located in the Alessandrino neighbourhood, in the periphery of Rome., dominated by “Acqua Alessandrina “ancient acqueduct. Located in a 10.000m2 no man’s land between the linearity of the acqueduct, the grid of the preexisting nearby low-density dwellings and the indefinition of the Park Giovanni Palatucci, the project acts as a urban tissue. The integration of the park, respect of the storic urban grid and the definition of a proper front for the public square are the guidelines of the macro scale. The dwellings, worked in simplex and duplex format, are arranged spatially creating a complex game of interior living spaces connected to external semi-public spaces complementary to terraces and loggias, that provide the different accomodations with characteristic spatial quality and, at the same time, generate the urban image of the complex. The exterior formality is granted to a continuous envelope of ventilated metalic perforated facade. Breaking the rules of traditional residence norm must be rooted in strong arguments. While a spatial and flexible frame is provided inside such units, the main bet is the “oversizing” of ecternal corridors facing the interior garden, enhancing the daily possibility of encounter and collective life among neighbours. RHINOCEROS

PHOTOSHOP

ILLUSTRATOR

AUTOCAD


03 CONCILIATION OF OPPOSITES A project for the “Edificio España” Emilio Tuñón, Ángela G. de Paredes, Ignacio G. Pedrosa & Luis Rojo Plaza de España, Madrid, Spain May 2017

P5

10/10 with Honors

In the frame of “MAD 2020: Madrid as an archipielago”, 20 disperse interventions that will shape the future of the spanish capital are the study cases. One of those, is the abandoned Edificio de España. Revitalize the aged center district of Madrid with affordable dwellings for young people, social and cultural equipments, as well as luxury apartments on top. Opposing the logic of demolition with urban recycling. The debate resides in how much should the patrimonial remain frozen or adapt to a contemporary reality. Two strategies: Increase the permeability of the “Edificio España” with the cutting of its basement and duplicating the facade, stressing its political condition and breaking its hierarchy. Three scales: Firstly, the macro. Breaking the buildings condition of urban barrier and responding to the upcomig remodelation of “Plaza de España”. An intermediate scale of common spaces. Places without a name, susceptibles of being used playfully or labourly, the human landscape where the social and the domestic spheres melt. RHINOCEROS

PHOTOSHOP

ILLUSTRATOR

AUTOCAD

VRAY


04 MEDIATECA THEATRE - COWORKING - MARKET... Carlo Pratti, Anna Laura Palazzo, Keti Lelo Villa Gordiani, Roma, Italy Dec 2017

P3M

30/30

“First life, then spaces, then buildings - the other way around never works” Jan Gehl The dictatorship of cars in Rome’s suburbs is an unquestionable reality that is highly detrimental to the quality of its public spaces and life. Following this thesis, the project aims to intervene the southern section of Villa Gordiani Park (nowadays cut by the Prenestina “Highway”), in a theoretical effort of putting ancient and modern ruins on the same level. The preexisting becomes the main conditioning. Firstly, the project aims to create a pedestrian exclusive public piazza, classical mediterranean typology tgat, since the advent of motor vehicles and Modern Movement urbanism, seems to have been forgotten even in its birthplace. Secondly, after an intensive multivaried analysis of the neighborhood needs, a cultural “temporary” equipment is chosen, as a means to catalyse urban vitality. The complex aims to create an entrance to the southern, clearly mistreated and infra-used part of Villa Gordiani.

RHINOCEROS

PHOTOSHOP

ILLUSTRATOR

ARCGIS

VRAY


LIBRI

MERCATO

LIBRI

MERCATO


05 EPHEMERAL POPULUS A pathway in the “Campo del Moro” Andrés Cánovas, Carmen Espegel & Arturo Blanco North Station, Madrid, Spain Dec 2016

P4

7,5/10

WHY TIMBER? The project is distinguished in two clear phases. Firstly, the plantation of 200 black poplars in the abandoned North Station. An hypostile natural room, ephemeral and autonomously managed. The second phase is the cutting down of the Populus Euramericana for laminated timber production and its future use in the construction of a pathway that brings together the Station and the gardens of “Campo del Moro”. Two main parts of such pathway are designed: one that saves the street of “Cuesta de San Vicente” and another one that creates an elevated promenade choosing carefully the trees to which support itself. The project makes a sustainable use of timber construction (1m3 can contain 1Ton of CO2). Opposing the capitalist logics of consumption of “cheaper” resources from different parts of the world (thus, polluting in its transport), the local assembly and creation of the building materials is chosen

RHINOCEROS

PHOTOSHOP

ILLUSTRATOR

VRAY


06 ATMOSPHERES Thermal Baths Alberto Campo Baeza, Jesús Donaire, Alejandro Vírseda & José Jaraiz Nasos, Ikaria, Greece May 2016

P3

8,5/10

“Emptiness is nothing. Nor is it a fault. In plastic embodiment, emptiness plays the way of an establishment that seeks and projects places.” Martin Heidegger The project tries, through the combination of different pieces, to solve the project. The form that these take when maclating grants the possibility of a courtyard and a privileged point of view to each of the landscapes of the place. To project places. Spacing. Save the scale with the environment and observe. To honor silence through light. Escape from the current chronic bustle and voyeurism. Experience and inhabit time. Temperature, intimacy, sound, materials, detail and light. Place architecture and respect. Belong to each other with the environment. Daséin. Transcend the physical and spatial experience, controlling how light enters and, thus, tensing the space. “...embodiment of the truth of being in a piece that establishes places”.

RHINOCEROS

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VRAY


Distintos tamaños pero sobretodo, distintas iluminaciones, que jerarquizan los distintos espacios. La luz como material de trabajo. De cara al exterior, los distintos volúmenes, en principio prismáticos, se mimetizan con el paisaje Mediterraneo. Controlando la escala, se pretende aunar los espacios más comunes con aquellos más privados. Tensionando el espacio según corresponda.


07 MERCADO MODELO OPEN COMPETITION In collaboration with: Aut-Aut Architettura Mercado Modelo, Montevideo, Uruguay May 2018

The IT sector constitutes a precious resource for Uruguay. Several governmental inititives have fostered the increase of high skilled professionals in IT through the years. As a matter of fact, several big companies are flourishing within this sector, multinational corporations are opening their branches and foreign investments are flowing, also thanks to the presence of several FTZ. Nevertheless, only 39% of professional workers in FTZ are nationals. At the same time Uruguayan brain drain reaches an alarming 20,3%. It is indeed hard for local start-ups within this sector to come out from their definition. We could define it as a pilot project to overcome the FTZ: a STZ or Synergic Trade Zone.Mercado sinergeTICo brings together several actors, such as the national Government as regulator, the local Government as property owner and initial investor, IT Universities as promoters, IT creative coworking companies and start-ups incubators as pioneers, companies/corporations within the IT sector as investors and beneficiary of the FTZ-like status, private investors/developers within the real estate sector, and housing cooperatives. Enhancing the value of the industrial heritage is the main guideline of the project.

RHINOCEROS

PHOTOSHOP

ILLUSTRATOR

AUTOCAD

VRAY


08 QATAR EMBASSY & CONSULATE CLOSED COMPETITION In collaboration with: Aut-Aut Architettura Rome, Italy July 2018

Finalist

Escaping from contemporary extravagant solutions in the Middle East fruit of banal whims and extravagant sense of luxury, the project tries to take past islamic elegance (Alhambra) as a model. In a plot with a considerable slope, the consulate is designed to remain “buried”, thus creating the possibility of two separate access. With a reinterpretation of a traditional square (presence of water as mirrors, latticework , vegetation and a perimetral portico) the building seeks to acquire the image of “public representation” with soft elegance and a controlled opulence.

RHINOCEROS

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09 84 SEMI-DETACHES HOUSES CLOSED COMPETITION ENTREABIERTO: EAS Arquitectura & CGR Arquitectos Riviera del Sol, Mijas, Spain Jul 2017

1st prize

84 dwelling in a sloped lot with priviledged views to the seashore. 4 typologies with variations on orientation, position, size and views. Highlighting the landscape to make it part of everyday life. An inferior stereotomic volume in stone and a superior tectonic one, peeping out of the hillside.

RHINOCEROS

PHOTOSHOP

SKETCHUP

AUTOCAD

VRAY


10 MNEMOSYNE MUSEUM OPEN COMPETITION In collaboration with: M.Benignetti, P. Susini, G. Weber Capo d’Orso, Sardegna, Italia June 2018

Young Architects Competition

Why do nations go to war? Not because wars achieve any utilitarian return. The more than a trillion dollars a year the world nowadays spends on their military is totally sacrificial, self-destructive. Nations say war has emotional reasons: “war is the greatest purifier to the race or nation” that can be achieved. How do we face a military museum? How do we play tastefully with the nuances between patriotism and nationalism, between fission and fusion, between self-protection and killing. We are diametrically opposed to the 19th century concept of a museum, as a non-dynamic nor interactive entity, we are opposed to dead knowledge. Deeply influenced by the conditions of Capo d’Orso, we conceive the museums as an alternation of open and closed spaces and sensations that configure a “war promenade”. The resolution of the museum is given by the manipulation of two main parameters: flexible containers able to adapt to the different requirements of the project and rigid columns, as a representation of the souls lost in the power gamble of military conflicts. As in Wagner’s Ride of the Valkyries, the transition from peace/order to war/chaos is not linear, but marked by apparently random events. RHINOCEROS

PHOTOSHOP

ILLUSTRATOR

AUTOCAD

VRAY


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MNEMOSYNE MUSEUM

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Why do nations go to war? Not because wars achieve any utilitarian return. The more than a trillion dollars a year the world nowadays spends on their military is totally sacrificial, self-destructive. Nations say war has emotional reasons: “war is the greatest purifier to the race or nation” that can be achieved. How do we face a military museum? How do we play tastefully with the nuances between patriotism and nationalism, between fission and fusion, between self-protection and killing. We are diametrically opposed to the 19th century concept of a museum, as a non-dynamic nor interactive entity , we are opposed to dead knowledge. Deeply influenced by the conditions of Capo d’Orso, we conceive the museums as an alternation of open and closed spaces and sensations that configure a “war promenade”. A museum that shows, through its architecture and conceptualization, the phases of war, its input and output. The resolution of the museum is given by the manipulation of 2 main parameters: flexible containers able to adapt to the different requirements of the project, and rigid columns, as a representation of the souls lost in the power gamble of the military conflicts. As in Wagner’s Ride of the Valkyries, the transition from peace/order to war/chaos is not linear, but marked by apparently random events or the absence of such.

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11 PANOPTIC OPEN COMPETITION In collaboration with: M. Chueca, J. Jaen, I. Barbeito & R. Varajao Favignana, Trapani, Italia Mar 2018

Young Architects Competition

The aim of the Art Prison competition is to give the fortress of Favignana (former prison) abck to its inhabitants by its transformation into a contemporary art platform. Given its priviledged position and its iconic importance, a position of radical respect is adopted, leaving the ecisting building untouched but enhanced by a ring-podium that enables experiencing the prison from points never possible before. The circle has divine relations: a simple circle has, from the beginning of times, represented eternity, having nor start nor end. The snake that bites its own tail. On the other hand, the panoptic represents structure with a 360 views relations, a contemporary prison. The Panoptic mirrors these properties in the way it dialogues with the pre-existing structures and the surrounding landscape from a dominant position in the hill. This structure totally surrounds the fortress to create a volume that decides what, when and how anything is seen. Everything blends in.

RHINOCEROS

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ILLUSTRATOR

AUTOCAD

VRAY


Profile for Juan Granero Moneva

Architecture Portfolio by Juan Granero 2014-2019  

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