GPO Common Portfolio - Marta Hervás Oroza by magnifxcent

This Is (not) A Post Office Marta Hervás Oroza

Design Portfolio - GPO Common - UCD 2022

CONTENTS

1_3 4_6 7 Tower B - Monument

Theme Investigation

Initial Design

Interim Reviews

Research on the topic of monument and survey of a precedent in order to develop and explore ideas relating to the topic and immerse in the theme of the studio tower.

Development of a proposal for the GPO to become an active city space to give a means of expression to the communities. The design process and decisions are based on the outcomes of the investigation phase.

Outcome of weeks 1 to 6, presented for interim review, and analysis of the points discussed during said meeting.

Pages 4 to 15

Pages 16 to 33

Pages 34 to 40

Peter Tansey + Chris Boyle Design VIII

8_11 12

Post-review Work

REF

Developed Design

Final Reviews

Further developement of the initial design responding to the issues adressed during the interim reviews, exploring the design through autonomous studies at different scales

Final product of the work carried out in weeks 8 to 11, as presented at the final review.

Extra documentation, development of the design based on review feedback and alternative proposals unexplored throughout the semester.

Personal thoughts on the work carried out during the semester, the learning outcomes and the conclusions of both interim and final reviews; outcome of the postcard project from the study break.

Pages 41 to 52

Pages 53 to 61

Pages 62 to 67

Pages 68 to 71

Reflection and study trip

Weeks 1_3

Theme Investigation Week 1: A1 and A7 drawings Week 2: concept model Week 3: precedent survey

Exploration sketches Visual investigations on the concept of monument and what it represents to me. The intentional monument vs the everyday / informal monument. The national vs the personal significance, and how monuments symbolize things for people. There is a certain poetry in specific acts, in details, and the monument is in those details, in rituals and in how we live. The relationship we have with the monument becomes as important as the monument itself. 5

The Everyday Monument What is it that makes a monument? Different buildings, structures, objects and locations can have different meanings for different people or communities, depending on the way they relate to them and the experiences they associate with said elements. My investigation leads me to choose two different settings that were originally not intended to perform as monuments, but could become so for certain communities: The Poolbeg chimneys, as a symbol of the city of Dublin; Built in 1971, the two towers and their recognizable red and white stripes can be seen from many points in the city, acting as an icon and part of its identity, and were listed as a protected structure in 2014. The Richview steps, as a symbol and meeting place for architecture students; The main staircase of the school of Architecture becomes a point for reunion at certain times of the day and in special occasions, acting as a generator of memories and stories for the students that inhabit it on the daily. By exploring these two locations I come to the conclusion that the concept of monument is rooted in perception, and directly depends on the people experiencing it. 6

The Personal Monument - A7 drawing and coloured version

MÖNUMENT Assembly instructions for a building or structure of interest

For the A1 and A7 drawings I take two different approaches that reflect on the same question: how does a monument acquire meaning? The A7 drawings represent the final stage of a thought process that begun by analyzing the ‘everyday monuments’: the personal significance of a place or building. The answer to the question, developed along the process: it is a specific moment, a shared memory, that gives meaning to an existing object. As to the A1, it is based on the reconstruction of the Madrid School Of Architecture (ETSAM) after the civil war. In this case, at a much larger scale, the building turns into a monument as a consequence of the act of covering it (many of the holes on the exterior walls were directly overlayed with stone, instead of filled up with brick, which was the original material). This act generates an underlaying story, and reflects the attitude of the ones in charge of the renovation, towards the event the building represents. Thus, the structure becomes a monument commemorating that event, but in a private and obscure way: only the people present in that moment and those who hear the story from them recognize it as so. This will prompt the model built during week 2 as a follow-up to this idea of a ‘private monument’.

Based on the ideas developed during week 1, I dedicate the second week to design a model that conveys the concept of a non conventional monument, one that is born from a specific act instead of created as one. To represent that, I utilise an apparently empty plaster cube, that conceals an egg in its interior. The model, a reflection on the events that give meaning to monuments, is cut open just before the presentation, revealing the egg and becoming significant and worth of rememberance. It also prompts a further question: was it a monument before opening it, but just for those who knew what was inside? This ties back to the idea of the covered bullet holes and the private monument. The sketches and pictures show the process of coming up with the idea, and building the cube. The images in the next page show what constitutes the performance; the opening of the model, the creation of the monument.

The Act That Makes The Monument What is the exact moment in which something becomes a monument? Which actions, when performed, turn an everyday element into a monument? The process of creating a monument implies a key action, a performance that allows one to establish a connection with it. The monument, from that moment on, acquires meaning as a representation of a specific event.

Meeting House Square

site visit and survey

Site visit sketches Meeting House Square, located in Temple Bar, was designed in 1991, and presents itself as an ‘indoor-outdoor space’, given its ability to transform itself into a sheltered public square by opening the umbrellas built in 2011, designed by Sean Harrington architects1. The square forms part of a series of projects to regenerate Temple Bar, and conforms a public cultural space capable of hosting activities and events for locals and tourists. The sketches show characteristic or remarcable details and elements, drawn on site. On the left, the complete set of drawings developed by the group during week 3.

Meeting House Square website: http://www.meetinghousesquare.ie/about/the_story/index.html 13

Measured plan and section (1.100 - A3)

After analysing the space and presenting it at the end of the week, I come to some conclusions about it: The idea of a multi-purpose public square is a very attractive concept, but in this specific example it results in a quite lifeless space, lacking a purpose whenever it’s not being used as a cultural venue. The public does not have a reason to visit it, and so it becomes a transit area for those who need to cross through the block. Along with this, the fact that all the surrounding buildings face the exterior streets instead of the plaza, contributes to the emptiness of the space, as the entrances to them are all located on the exterior facades. This renders the square rather useless, except for the restaurant located in the south-east side of it (which only contributes to revitalize the space during its opening hours).

Analytical plans Based on the research and survey work carried out during the week, I develop these analytical plans. The first one intends to show the different uses and functions the space can assume; one of the main characteristics of Meeting House Square. This versatility allows it to act as a public plaza, a performance stage or a film projection facility, transforming itself to adapt to the different requirements of each use. The second drawing explains rhe circulations that take place in the square: the main routes taken by those who transit through it, and the points in which people tend to congregate. The combination of both drawings gives us an idea of how the space is used and appropriated by the public. 15

Weeks 4_6

Initial Design Week 4: space, character, concept Week 5: structure + assemblage Week 6: detailing of the design

Matadero Madrid

Intermediae 2007 - Arturo Franco

design precedent

“Matadero Madrid is a cultural space open to discovery, a place to meet other people, a place you can be part of ”.2 1 It was originally designed by architect Luis Bellido at the beginning of the 20th century, and remained in use as a slaughterhouse until 1995. After 10 years of abandonment, in 2005 it was redesigned by various renowned architecture studios, with the purpose of making of it an international centre of culture and artistic creation. The renovation tried to achieve a balance between respecting the heritage site and add a new contemporary and public character to the complex. It allows the building to host exhibitions, plays, festivals, concerts, films, comferences, workshops, conversations, educational programmes and artistic residences.

Cross section by Arturo Franco architects

The Intermediae space occupies 2700 m2, and it aimed to restore the space, found in ruinous condition, in a way that would reduce the need for intervention to the bare minimum and respect the identity of the place itself. The are predominantly iron and glass, chosen for their capacity to be used directly without practically any manipulation. It acts as an entrance hall for the rest of the spaces.

https://www.mataderomadrid.org/en/ 17

Central de Diseño

Naves del Español

2007 - Jose Antonio García Roldán

2007 - Emilio Esteras + Justo Benito

The goal of the intervention in this space was to preserve the character of the elements that conform it. This was achieved by incorporating recycled and recyclable materials, such as removable polycarbonate (illuminated wall), industrial sheets made from recycled car bumpers (floor). Images source: di_mad

With an area of 5900 m2, this space contains auditoriums and rehearsal rooms, along with a public cantine. Its main principles are reversibility, flexibility and versatility, allowing for multiple stage configurations.

Images source: Teatro Español

The space serves as an exhibition room, with an adjustable floor that can be raised.

It introduces new elements and materials, mainly polycarbonate and a scaffold structure, juxtaposed to the pre-existing ones.

Cineteca

Casa del Lector

2011 - Jose María Churtichaga + Cayetana de la Quadra Salcedo

2012 - Ensamble Studio (Antón García Abril)

The Cineteca building occupies a total of 2688 m2, and accomodates two cinema halls, a film set, an archive, a cantine and a terrace that can be used for screenings.

This project develops from the act of connecting the structures of the two pre-existing buildings, creating a space of over 8000 m2 that hosts a library, multiple workshops, reading rooms, radio and TV sets, an exhibition hall and an auditorium for 300 people.

The place acquires its spatial quality from the lighting elements, which are built off of recycled garden hoses, creating a contrast between the old and the new.

The material treatment gives the room very interesting identities, using light and directing the view of the visitor to convey a continuous, elegant, almost cinematic, quality.

Axonometric by Churtichaga + de la Quadra

Drawings by Ensamble Studio 19

democracy (n):

control of an

organization or group by the majority of its members; the practice or principles of social equality

(Oxford English Dictionary)

Program distribution sketches (Base plans of the GPO by Vincianne Gaudissart, Y3)

Intentions of design The initial idea for the intervention is to create open, continuous spaces for public use in the lower floors and for artist residencies in the first and second floor, preserving the original exterior to keep the identity of the monument, and adapting the design to the existing structure for sustainability issues. The project is located in the north wing of the GPO, directly opening itself to Henry Street, and the back of the arcade. I also introduce the idea of opening up the arcade to one of the courtyards, creating a portico that will bring life into it and offer it to the public.

The intention behind the design is to allow the community to interact and appropriate the space, tying to the result of the investigation in monument: the relationship the public establishes with it. This comes along with an interpretation of the proposed brief, a place for culture and art that will make arts and culture accessible to everyone, enabling people to express their opinions and feelings in an enriching and interconnected environment. This includes, at this stage of developement: Private and artist spaces: Theatre - 420 m2 Auditorium - 175 m2 Reception and hall - 115 m2 Artist studios and residential facilities - 880 m2 in two floors Public: Study spaces and workshop - 120 m2 Common room and hall - 430 m2 Shop - 40 m2 Canteen - 215 m2

Ground floor plan and section sketches (Plan 1.350 A3, section 1.250 - A3)

Total: 2395 m2

1.250 partial model of the proposal (Henry Street wing)

Analysing the structure Analytical sketches showing the structural grid of the GPO, aiming to understand the system in order to adapt it for the new purpose of the building. The structure is fairly regular along the entirety of it, except for the back part. Circled in one of the sketches is a specific pillar that, when removed, leaves a wide open space which I aim to use as an auditorium. In order to do this, I propose a system of trusses that find support in the main columns of the arcade and the back wall of the GPO, continuing the existing lines of the structural grid. This intervention allows for coherence with the original system, but it doesn’t differentiate itself as an added element, a point which will be resolved in future revisions of the design.

“In the beginning, there was the diagonal. The diagonal comes from the idea of the explosion, which reforms the space” -Zaha Hadid

An exploration on the diagonal The diagonal comes as a solution to the issue of differentiating the character of the added structure as opposed to the found structure. By tracing the diagonal lines underlying the structural grid, I can choose to either play by the rules of the original building or break them at points to highlight where the intervention adds new elements to the existing fabric, thus making the design more readable and honest. The diagonal represents a new system, it adds a direction to the space and allows for interesting things to happen in the point where it meets the pre-existing grid. Just as the diagonal that breaks through the urban fabric in the streets of Barcelona, the diagonal in the structure becomes a focal point in a previously homogeneous geometry.

Based on this decision, the design now attempts to apply the principle of the diagonal to the GPO: The new trusses need to adapt their depth to the span, which is different for each of them. This will create a landscape of different heights on top of the space. The space extends further from the back wall, using this one as a separation between the public auditorium and the scene. By maintaining the original walls and stripping them back of their coverings, the space acquires an informal backyard character, also fitting with the shift in the structure. On the other side of the arcade, the structure continues with simple beams that extend past the current facade line, but the existing wall is removed to create a portico. The visual lines then close off the space with pillars aligned with the structural grid. Image source: dezeen.com

Diagonal structure sketches, Chris Boyle overlay (Plans 1.350 - A3)

1.250 partial model of the proposal (auditorium)

The hollow facade For the Henry Street facade, I propose an intervention that strips the facade of all added elements and leaves the bare fabric and its openings bare. This creates an exposed interior space that will serve as a common area for the artist studios. This move allows for the exterior image of the monument the GPO represents, to persist, while being completely independent from the interior layout of the building. That way, it acts as a shell, an exterior case that covers a variety of spaces and functions. This will be later discarded, as it forces a secondary intervention to create an interior facade line that will spearate the space and offer thermal comfort, practically rendering the move inneficient.

“the city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning rods, the poles of the flags, every segment marked in turn with scratches, indentations, scrolls” -Invisible Cities, Italo Calvino

GPO site visit

The GPO is not only the centre of an interconnected system that runs accross the whole of Ireland and extends beyond the island, nor just a monumental building acting as a landmark that commemorates the acts that once took place in it. The morning of our visit, it was sunny, and the sun reflected in every window, illuminated every single one of the pillars in the portico and shone on the spear in Hibernia’s hand. The GPO exists in all those details, in all its bricks and the stone that forms the fabric it’s made of. The image of the building is all of those things and none of them at the same time. If we were to remove one of its bricks, the glass of one window, the monument would still remain. If we were to remove the statues on top of the portico, hundreds of people would walk past it every day without noticing (arguably, a few hundreds would, too). But if we were to tear it all apart, take away the whole of it, decompose it and catalogue every single item that conforms it, although some of them would hold more GPO than others, none of them would contain the character of the monument in itself, for it is the result of the combination of them all, its history and its function, that gives meaning and sense to what the General Post Office is. The question becomes, then, to which extent can one alter the present state of the building while still attempting to preserve its character and its value as a monument. This morning, the GPO felt unrealistically close, like one could extend their arm and touch the history engraved in its bricks. And the sun shining down on it was the same sun that had been illuminating its stones for years before our eyes lied upon it.

Week 7

Interim Reviews Part 1: work presented Part 2: discussion outcomes

A monument for the people After the four weeks of developement of the design, I present a proposal for a space that can be used by all people in the community that surrounds the GPO. It consists of a collection of public facilities such as an auditorium, work spaces and artist studios, available for the public. The design aims to preserve as much of the original character and structure of the GPO as a monument, clearly differentiating itself as an added element through the use of a distinct visual and formal language. This allows for the intervention to be readable and honest, representing in itself the values of democracy that it aims to serve to.

1.250 partial model of the proposal (auditorium and arcade)

Interim Review conclusions During the review, the importance of the structure was widely discussed. This was a key point regarding many aspects of the design: Firstly, the need to graphically differentiate the existing structure from the added elements, and address the removed parts as well, in the drawings. Representing these in a separate plan becomes a priority, as it helps understand the basic intervention from the start. Then, regarding the physical integrity of the building, it is pointed out that some of the strategies taken might mean that more of the structure than originally intended is to be demolished and rebuilt. This is specifically important in relation to the public spaces in which part of the floorplate is removed, as the remaining pillars are not connected with the ones on top and need to be replaced with new ones to continue performing their function. Another point to be explored is the junction between the found elements and the ones introduced with my intervention. How these relate to each other is a question that must be addressed during the following weeks. Finally, the decision to use the diagonal as a response to the issue of differentiating the existing grid from the added structural elements is recognized as an adequate move that helps talk about the thing that’s old and the thing that’s new in an architectural language. To further look into this aspect, I shall analyze the Palais de Tokyo as a precedent. On the other hand, some other questions are pointed out, such as the quality of the light in the portico and how to find “the least covered” solution for it, the duality between opened and enclosed in the design, the possibility of making the auditorium a reconfigurable multi-point performance space, and the opportunities that raising the floor level in the back courtyard offers. Lastly, one main point to be investigated in the design is to find a way of having the two main ‘wings’ of the proposal to be together and feed into each other, possibly by moving the artist studios and public study spaces to the Prince’s street part of the building.

Weeks 8_11

Developed Design Week 8: 1.50, main space Week 9: 1.500, city context Week 10: 1.100, organisation and materiality Week 11: Completion of design

Demolition and light studies. Structure immersive sketch (Sections 1.50 - A3)

Further thoughts on the diagonal structure The scale of 1.50 raises questions about the relation of the existing structure and the added diagonal beams and trusses. In order to improve the legibility of the move, I rearrange the space to creat a second threshold between the arcade and the auditorium, crreating a second row of pillars that connect the two levels of structure vertically. In the main space of the arcade, the diagonal structure is juxtaposed to the existing skylight, which remains in place. The succesive threshold spaces create a lighting gradient from the courtyard to a portico in which thee light is filtered, to the transparency of the arcade, and back through the lobby into the auditorium; the darkest space.

1.50 partial model of the proposal (arcade and diagonal structure)

1.500 site model of the proposal and GPO in context

Overlays on the public space surrounding the intervention (Plans 1.500 - A3)

On the public space surrounding the GPO A series of drawings exploring the duality between public and private space in the surroundings of the building. In both models and sketch plans, the private space is shown as mass or solid, whereas the public areas are left as empty or void. This helps visually illustrate and point out the lack of publicly accessible areas in the environs of the intervention, which intends to respond to this issue by creating a local public hub for the community.

Prince’s St

Henry St

The artist studios The sketches in the left page show the duality between the public space adjacent to both the Henry Street and Prince’s Street wings of the GPO, the former being open, lively and public; and the latter being dark, narrow and unwelcoming.This prompts the decision to maintain the artist studios in the north wing, as I feel they can benefit from the more inviting atmosphere that Henry Street offers. In the process of detailing the artist studios and living spaces, the general layout of the relevant part of the building was changed after a meeting with the tutors. It was suggested to me that a more free distribution with enclosed living facilities scattered across the floor, and working areas in the interstitial spaces, reconfigurable for the artists’ needs, would be an interesting solution.

First and second floor plans for artist living spaces (1.100 - A3)

Artist studios and living spaces overlays (plans 1.100 - A3)

1.100 partial model of the proposal (Henry Street wing artist studios)

North elevation (1.100 - A3 extended)

A monumental facade For the external elevation, I aim to retain the preexisting appearance of the top floors, and the main structure at ground level, replacing the storefronts that denote private or commercial space with new elements which will offer a clear interpretation of the old and the new, the public and the private.

Historic photos of Henry Street. Images source: RTÉ Archive

Week 12

Final Reviews Part 1: work presented Part 2: discussion outcomes

Democracy through culture Through the means of art and culture, a community can be built in which citizens can express temselves freely and publicly. The aim of a democratic structure shall be, then, to provide its members with the appropriate tools and means of creation, for them to have equal opportunities to develop their artistic projects and initiatives. A centre for democracy can, following this principle, become a centre for contemporary creation, generating a propitious field for the collective exchange of new ideas. Previous examples of this model have proved rather successful, as is the case of one of the precedents analyzed during the development of the project (Matadero Madrid): in their own words, “The centre’s work is based on the firm belief that public institutions are duty bound to support experimentation rather than the reproduction of standard formulas”.31 The purpose of introducing facilities for artists and the general public to explore their artistic and creative intentions, is not so far from the basic principle of democracy: that of giving them a voice, a means of expression. The first steps of establishing oneself as an independent creator can be daunting and incredibly challenging, specially for those without the necessary resources to invest in the process. By providing a space for artists to live and work, along with the necessary supporting facilities, those first difficulties can be bypassed, and the path of artistic creation can stop being linked to the economic state of those who may choose to take it. With sufficient support, it can be possible to democratize art; to make it accessible for everyone. Along with this, there is an inherent benefit to the coexistence of creative practices: the transversality and collaboration that can arise from the artistic community that the project pursues, not only withing the individual creators taking residence in it, but the entirety of the collectives that inhabit the neighborhood which the intervention in the GPO aims to revitalize. 3

https://www.mataderomadrid.org/en/

Final Review conclusions The discussion prompted by my work during the review revolved around both design processes and decisions, and more general and conceptual topics. As to the design moves, several paths through which I could further develop the intervention were suggested, mainly related to the key concept of the diagonal structure. Firstly, I was given the idea of unifying the design language throughout the whole proposal by introducing the diagonal grid in the artist studios situated in the Henry Street wing. This would entail redesigning both the living spaces and the interstitial working areas, and thus, given its complexity, fairly challenging to implement in the short time span remaining. Secondly, and also regarding the same part of the proposal, I was suggested the possibility of reallocating all the functions currently housed in the second floor, to a higher level. By also stripping the structure to leave only the grid of columns and beams in between first and third floors, this would allow for more light and openness, improving the spatial condition of the workshops and residential facilities. This decision, although very interesting and with a lot of potential, would also require more development than what could take place in the remaining week, which prompted me to settle for the last of the suggested aspects of the design. Said aspect consisted in the character of the performance space, currently an auditorium, but that could possibly be transformed into a more informal venue, less directional and perhaps reconfigurable to host different cultural and artistic acts. This was also mentioned during Interim Review and so I felt inclined to explore the concept during week 13. On the other hand, the discussion also covered some concepts such as the relationship between art and capitalism, and what that would represent for the intervention and its social intentions. The implications and effects of artistic and cultural expression in democratic structures, both in negative (gentrification, commercialization of craft production...) and positive (freedom of expression, sense of community, intersectionality) ways, was also a topic of conversation that brought different ideas and points of view to the table.

Week 13

Post-review Work Part 1: further development of design Part 2: alternative unexplored proposals

The Rave Room, or ‘liberating the performance space’ Following one of the suggestions from the discussion in my final review, I decided to explore the possibilities that the performance space (originally a traditional auditorium) could offer. The reused and borrowed quality of this space gives it a very particular character: ‘sort of a place for a garage rave’. Based on this concept, I sketched a modification to the previous setup, to transform it into a less directional space with multiple focal points, that could fully make use of the potential of both the found walls and the added structure. The latter could, in turn, be used for various purposes and supply necessary elements for the performances. This new space includes, as well, a mezzanine at the level of the arcade, from which visitors can observe the acts taking place in the lower level. On the right page, the sections show possible uses of the space as both an event venue and a public spectacle.

Perspective sections (1.200 - A3)

The road(s) not taken “Just this idea that, if you can do anything, what do you want to do?” - tutor Chris Boyle, during one of the meetings of the semester. ‘The roads not taken’ reflects on the idea that for every project there is an infinite number of possible responses and possible design paths, from which, as architecture students, we choose one and, when feasible, tend to stick to it. This decision is conditioned by the instructions in the brief, the time constraint, and our own abilities, along with many other factors. But in a way, all other concepts, all discarded proposals, coexist in our minds for a brief period of time with the one that ends up being developed. For a moment, all of them are equally real and equally possible. For week 13 of this semester, my aim, along with making necessary changes to the design I settled for in the first place, was to choose on of these un-taken roads, and portray it in this portfolio. The next page represents an insight into one of the alternative ideas that came to mind along the process of perfecting the design shown in the previous sections. It is not to be taken literally, but rather as a proposition that could have triggered a completely different project, driven by alternative manifestos or thought processes. The image represents the absence of the monument, the empty space that becomes significant in itself. What would happen if the entire GPO was not there enymore? What if only the portico remained, to remind us of the thing that used to be? The many implications of this move, in environment, society, conservation, urbanism and many other areas, could all have driven different projects. The image of the non-GPO contains all of them: the possibility of revitalizing the surrounding streets that would become the enclosure of a green area in north Dublin, the catalog of construction elements that could be recovered from the demolition process, the physical limits of the monument’s image... The GPO is not there anymore; what now? This is one of the many things that could have been, but had to not be, in order for the thing that was, to be.

Postcards (not) from Paris A train station turned into a botanical garden; a slaughterhouse turned into a cultural centre; a church turned into a library; a museum redesigned by a french architect; a historical building turned into an exhibition space. A collection of five postcards from spaces that have been brought back to life, in the city of Madrid.

Atocha Train Station

Matadero Madrid

Escuelas Pías UNED Library

Reina Sofía Museum

Caixa Forum Madrid

Reflection on the semester In architecture, and in life, everything is connected to everything. Links waiting for one to use them and tweak with them in a way that helps construct a concept, a story and a design. The nature of the architectural practice is that of interconnections, of reations between elements and concepts that vary in complexity, ranging from obvious to almost impossible, sometimes describing a path and sometimes a network. Sometimes archityecture becomes a perfect representation of life and all that it contains. Decisions and paths like strings to be pulled. The work of this semester has been an insight in different ways to navigate that network, and the outcome of it has not only been the physical and digital collection of documents presented in this portfolio, but also the thought process that has driven the production of said documents, and the moments of making that have given shape to those thoughts. Apart from the obvious and the necessary, the learning of techniques, drawing, model making... I have experimented with new ways of thinking and I have gotten to know my own creative processes and workflows. The idea of monument and its implications have also been of great importance in the development of the semester’s work, and the question stated at the beginning of the journey still remains: what is monument? Maybe not the GPO. Maybe yes, but for different reasons that I initially considered it. Perhaps monument is the collaborative production of the collective structures of the city and its inhabitants, and it represents a concept where we can project our expectations and our ideals and recieve something in return: the knowledge that someone else shares the same beliefs as us. Collective work and structures have also been crucial this semester, and for that reason I have chosen the image on the left, a sketch on the back courtyard of the GPO, left unfinished, and later completed by Yusuf Alraqi (Y1). The collaborative effort of creation inherent to Architecture and studio culture.

Marta Hervás Oroza // UCD Dublin Architecture 2022