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ARCHITECTURE PORFOLIO MARTA LASTRA selected works 2014 - 2017


MARTA A. LASTRA FERNÁNDEZ ARCHITECT

personal information

“Architecture is the learned game, correct and magnificent, of forms assembled in the light” Le Corbusier

Architecture is about creating spaces that thrill the spectator. Is the art of inhabitating. As architects we have a social commitment. Making from our works places to be experienced, transforming our cities into the best scenaries for human’s activitiies.

B: 09July1993 T: 66202008 E: malf.arq@gmail.com A: c/Libreros 25, 18199 Cájar, Granada (Spain)

education

Grado en Arquitectura, ETSA Granada, UGR. 2011-2017 Erasmus programme, Katholieke Universiteit Leuven 2015-2016 Master en Arquitectura, ETSA Valencia, UPV. 2017-2018


personal SKILLS

Mockup and modelling Photography Sketching

software

VECTOR DRAWING AND MODELLING: Autodesk Revit - Autocad (2D - 3D) 3DMax Studio - Google Sketchup GRAPHIC EDITION: Photoshop - Illustrator - InDesign - Lightroom MAPPING: QGIS- ArcGIS VALUATION AND MEASSURING: Presto MS OFFICE: Word - Excel - Access - Powerpoint - Publisher

languages

exhibitions

Spanish - native English - fluent (C1 level by Cambridge) French - basic

“Las Ciudades Invisibles” “Tools” Furniture Shop. 2012

courses and workshops

“Arquitectura a escala” COA Granada. 2013. Model: Jewish Museum, Daniel Libeskind Published in “Margenes Arquitectura” Nº8

Workshop ETSA Granada - Scuola Architettura Roma Tre Spazio pubblico di prossimita, un sistema che misura 5 minuti 2014 Workshop Imagina Ciudades Col. ETSA Granada - ETSA Málaga 2014 Workshop ETSA Granada - Universidad Seul Proyectos paralelos 2015 Fotografía Urbana Programa Intercambia. ETSA Granada 2015

“Ciudades y Urbanismo” Urbanismo 1 ETSA Granada. 2014 Model: Chicago Downtown “Arquitecturas en miniatura” ETSA Granada. 2016 Model: Jean Marie Tjibaou Cultural Centre, Renzo Piano “Fotografía Urbana” ETSA Granada, 2016


PROJECTS FIXING THE RUIN. Artist residence near La Alhambra. Granada. TCAE. Teatro Cervantes Artes Escénicas. Tánger. LA CHANCA. Barbate cultural dissemination centre. Barbate, Cádiz. BACTERIOLOGIC INSTITUTE. Leuven. GRANADA’S TRAMWAY. Memory of the lost heritage. TFG.


Albaicin

Alhambra

Old Meersmaan Museum

FIXING THE RUIN: ARTISTS RESIDENCE NEAR LA ALHAMBRA old meersmaan museum, granada 2014/2015

Realejo


In the forest of La Alhambra, next to the Manuel de Falla auditorium and the Carmen of the Martyrs, there is an old building practically in ruins. It is currently completely abandoned and it is being used only by the boys belonging to a reformatory center located nearby. Originally, the building itself was used both as a house and as a museum, and it ended up turning into a photography studio some years later. Finally, in the 1960s, it was abandoned. Its location area being closed to a place considered to be one of the most beautiful spots of the world, makes it somewhere to become inspired at, perfect for those artistic people who go spend some time there hoping to find their own muse. Due to the ruin’s state the building was in, it was necessary to reinforce the stability of the majority of its walls, whereas the action of creating new roofs to highly cover all the spaces it had left was only needed in some parts of the house. Moreover, for the walls task mentioned new brick walls were built up, forming a second skin layer parallel to the old one, whose gap space in between is filled with the studios and the rooms of some of the artists, such as in the case of the Architecture studio. The areas of the project seen as more opened to the public are concentrated in the left and the central naves. However, all the free spaces can be used as well by people without restrictions. The itinerary is almost helical, being the entrance the right nave, then you follow the path by going to the back nave, continuing throughout the middle one, where the exhibition area is held at, and finally arriving to the right nave, where the library can be found.


Medina

Plaza 9 de abril

TCAE: teatro cervantes artes escĂŠnicas tĂĄnger, morocco 2014/2015

Teatro Cervantes


Built up in 1913, the Great Cervantes Theatre of Tangier was an international cultural model until the 1950, when the town lost its condition as international city, becoming part of Morocco. Being nowadays almost in ruins, the Cervantes Theatre is an architectural jewel, an artistic symbol of the Tangiers’ culture. By renewing the building following a programme closely linked to dramatic arts, the main purpose of the project is to return the brightness to the Theatre and put back Tangier in the international cultural panorama. PRESERVE, RESTORE, COMPLETE. Preserve what it already exists as a base for the new intervention, which starts with the restoration of the stage house by building a new one attached to the old walls. This way, it is created a past-present link between them. This new stage house, covered outside by perforated row steel, will act as an art lighthouse for the city. The intervention is completed with a new concrete building that embraces the Theatre, connecting both platforms through the middle part. Apart from the recovery of the Old Cervantes Theatre, it is important to reconnect it with its surroundings. In order to aim so, a terraced garden has been designed at the back of the complex, joining with one of the main squares of Tangier and creating a new facade to the city.


The new building it is, in real terms, three different buildings, linked by galleries and corridors on the first and the second floor. The building in the middle is the only one that is in direct contact with the Theatre, while the other two have a well-defined and strong position on their own thanks to the pre-existent construction.


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28 26 12 4 1 2 5 6 7 8 10 11

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13 5 19 11

HEB 220

VOID IPE 300

32 30 5 7 11

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30

14

26 3

15

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25

34

HEB 220

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1. Brick parapet

20. Cavity sanitary floor slab - 25cm thickness

2. Cinq gutter

21. Foundation slab - 65cm thickness, #25cm Ø16

3. Exterior lining. GRC sandwich pannel - 100mm thickness - expanded polystyrene nucleus. Metalic substructure with anchoring to the main structure

22. Gravel slab 23. Oak wood paneling

4. Neoprene joint

24. Sheet metal floor slab - 12cm thickness. Sheet metal thickness 5mm.

5. Polished concrete

# 20cm Ø6mm. Negative framework #20cm Ø16

6. Reinforced concrete deck - 7cm. thickness #20cm 7. Thermal isolation: extruded polystyrene

25. Gypsum partition wall EI-120. Metallic structure 90mm thickness. Interior FOC double plate - 15mm thickness-, exterior single gypsum plate CH - 25mm

8. Waterproofing layer

thickness. Width 120mm

9. Separation mortar

26. Wooden slats false ceiling. Slats in parallel,

10. Slope formation concrete

separated 5cm, 15mm thickness, 2m length, adjustable

11. Sheet metal floor slab - 18cm thickness. Sheet metal thickness 5mm. # 20cm Ø6mm. Negative framework #20cm Ø16 (49)

height

12. Continous gypsum false ceiling. Double support

paint. EI-120

structure and 3 FOC panels - 5mm thickness. EI-120

29. Exterior false ceiling. GRC sandwich pannels 100mm thickness- expanded polystyrene nucleus,

Ø6

13. Gypsum partition wall. FOC double plate - 13mm thickness- with galvanized steel structure - 70mm thickness- and 60mm glass wool isolation. Total thickness 122mm 14. Void beam IPE 300 15. Metallic pillar HEB 220 16. “Capuchina” cavity wall with extruded polystyrene nucleus and intermediate air chamber - 30cm thickness 17. Load-bearing wall for underpinning of the existing foundation - 50cm thinckness, #20 cm Ø16. Underpinning Ø20 18. Existing foundation 19. Levelling mortar

27. Gypsum isolated semidirect board. 40mm thickness 28. Metal section IPN-120, re-covered with intumescent

metallic substructure anchored to the floor slab 30. Folding metallic carpentry with double glazing. Laminated glass 31. Half brick wall 32. Stud frame pannel. Concrete finish. 33. Leaf metallic window with double glazing. Laminated glass 34. Metallic lintel HEB 140 35. Reinforced concrete slab - 20cm thickness#20 Ø6


“La chanca” barbate cultural dissemination center barbate, cádiz, spain 2014/2015


“La Chanca” is an industrial complex formed by the Barbate Tunning Fishing Consortium, “La Chanca” itself and the houses for its employees. In there, fish, especially tuna, used to be manufactured in a traditional way, being one of the main pillars of Barbate’s economy until the 50s decade, when it started becoming irrelevant. Barbate has historically been linked to the Atlantic Ocean and the Barbate river, but since the construction of its seaport the city has turned its back to the river. Bearing this in mind, “La Chanca” is the conjunction point between the city, the riverside, the seaside and the sand dunes areas. By the time this complex fully recovers, these four locations that nowadays are separated, will be linked again. The project’s main aim is to transform “La Chanca” in a Cultural Dissemination Center, using water as a connector. The original itineraries of the plant have been studied and reinterpreted to adapt the complex into the new programme. This “new” itinerary will be represented through three water lines that link the different buildings. Two of these water paths share both private and public functions, overlapping the public and museum itineraries, while the other one joins the first nave and the auditorium. “La Chanca” was originally formed by 6 buildings, from which only five of them still remain today. These will harbour the exhibition areas of the museum, while supplementary services, as the entry or the auditorium, will be put up in brand new concrete-zinc constructions.


The recovery of the complex will be carried out in 3 phases: 1. OLD CHANCA. BARBATE CULTURAL DISSEMINATION CENTER. Museum, restaurant and offices. 2. TUNNY FISHING CONSORTIUM BUILDINGS. BARBATE CULTURAL FACTORY. Space for local people, with studios, a library and a cinema. 3. OLD EMPLOYEES HOUSES. Housing for the employees of “La Chanca” and tourism rentals.


bacteriologic institute leuven, belgium 2015/2016 Marta lastra, witold vanderbroek, arne heremans


Built in the latest 19th century, the Bacteriologic Institute in Leuven was the first of its kind in Belgium, being driven by a progressive scientific spirit that can be still witnessed through its functional and sober interior. The building kept its original function until the 1950s. Although in 1944, it was severely damaged by an allied bomb. From the 1962 onwards, the Bacteriologic institute would be split up in two pieces. In 1966 the main building was transformed into a medical center for Leuven University’s students, while in 1990 its use changed once more, becoming part of the Faculty of Agricultural Sciences. It kept such use until the 2006, when the building was finally abandoned. Despite the fact that in 2010 it was declared as a monument, it is still closed and in ruins. This project focuses on trying to recover this precious building, giving it a new life as a cultural and social center. The building has three different parts. A front monumental building, another building at the back of the parcel that is almost touching the student housing next to it, and a middle building that connects those two mentioned before. The most interesting and important ones are the two opposite to each other, that’s the reason why it has been decided to remove the middle part in order to create a public space to hand in to the city. This new vacant space encloses a garden that will be seen as a transition between the two remaining ones. Inside the garden, a freestanding pavilion with a uniform shell of micro-perforated corrugated aluminium has been placed. The placement of the pavilion divides the walled garden into three smaller spaces, each one with its own materiality, feel and privacy conditions.

BASEMENT

GROUND FLOOR

1ST FLOOR


Inside the remaining buildings the intervention is more relaxed and respectful. The floors are rebuilt and some walls are removed while others are rised up in order to adapt the interior for a new use. The front building has a more public set-up, facing the most approachable side of the whole building, while the one at the back has a more private environment, with only the top floor reminding as a public space.


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Granada’s tramway. memory of the lost heritage.

Urban lines map detail. E: 1-15000

final degree THESIS, ETSA granada 2017 tutor: ricardo hernández soriano

Alhambra

Plaza Nueva

Triunfo

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Gran Vía 1

Bomba

Puerta Real

7 8 9 10 13

11 12

Avda. Andalucia Cocheras

Bda. de las Angustias*

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9

Gas Lebón

11 Cervantes

Avda. de la Constitución*

Estación de Andaluces

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12

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río

6 5

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nil

4 8

Ambroz

embalse Béznar

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Tablate

río G

enil

Cullar Vega

Armilla Híjar

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Órgiva

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Churriana de la Vega

Huétor Vega

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río Gu

Los T río

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embalse Rules

ande Ogíjares

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na ch

il

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Monachil Estación central

Barrio de Monachil

río

río

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ua

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lfe o

r la Di

Cájar

Ogíjares

La Zubia

Gójar

Alhendín

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La Gorgoracha

Otura

Motril

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Santa Juliana

Alcázar - Genil

Recogidas

Huetor Vega

Humilladero

14 5

Cájar

Deportes Hípica Andres Segovia

Estación autobus

Argentinita

Triunfo

Mendez Núñez

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Caleta

Maracena

Villarejo

Albolote

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río Dila r

Estacion tren Universidad

Cerrillo Maracena Jaén

Maracena

Anfiteatro

Vicuña

Juncaril

Albolote

M

Intercity lines map detail. E: 1-60000

Cármenes Dílar

La Zubia PTS

Fábrica de Orujos

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San Isidro Sierra Nevada

Atarfe Balneario

Pinos Puente

Fernando de los Ríos

La Vega Cementera

Armilla

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Base Aérea La Purísima

vía

Churriana

Puerto de Motril

Alhendín

Santa Fe

Otura El Jau

Fuente Vaqueros

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Gabia Grande

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Chauchina

Padul

Dúrcal

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Aerial cable map detail. La Alpujarra - Motril Harbour. E: 1-125000

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The tramway establishment in Granada was the result of a group of economic and urban events that took part in the city and its surroundings during the second half of the 19th and the early 20th centuries. Those events were mainly the covering of the Darro river, the sugar industry growth and the opening of the Gran Via. Opened on the 7th of july in 1904, the establishment of the tram was finally possible thanks to Nicolás de Escoriaza y Fabro. The main purpose was to create a line to connect La Vega with the city and transport goods. At the end, though, it was used as well as a public transport. The urban lines were opened during the first decade from the 20th century, while during the 10th and the 20th it suffered its expansion to the periphery. It probably was one of the largest networks of tramways in Spain, even arriving to Sierra Nevada and Motril harbour – in this particular case it was achieved through an aerial cable, a pioneer system for that time. Despite all the adversities the network had to deal with – the Spanish Civil War and the two World Wars – it was used for more than 70 year on a regular basis. The first lines to disappear were the urban ones, while the intercity ones were working until the 14th of April in 1974.

Nowadays, more than 40 years after it disappeared, it is imminent the opening of the Metro of Granada, a kind of tramway that it is so far from the original one, covering only a small part of the metropolitan area. However, the collective memory of the old tramway, that was so important for the city and the society, has almost disappeared, remaining only 32 of the 43 buildings and infrastructures that were linked to this network. Through the recovery and the restoration of such buildings it could not only be possible to get back the memory of the tramway, but also to protect the history of the city, due to the importance of this period on the economic and social development of Granada. Reactivating those spaces could help to change the type of tourism there is, creating new sightseeing options far from the Alhambra and the historical center, but at the same tame being in parallel to them. This new tourism would be developed in La Vega and the old industries abandoned in it. If besides a good urban transport project there could be developed – not the Metro-, one that connects all those spaces, making easy the access into the city, it would be much less difficult to consolidate those future ruins, while the mobility problems of the metropolitan area would also be solved.


Tramway in Puerta Real in the 50s. Historic photograph.

Dúrcal bridge. Ph: 1971.

Sierra Nevada tramway. Ph: Torres Molina. 1926

New Metro railways. Ph: M. Lastra. 2017

South Train Station. Ph: M. Lastra. 2017.

Nuestra Señora de Los Dolores Cement Factory. Ph: M. Lastra. 2017.

San Isidro Sugar Factory. Interior. Ph: M. Lastra. 2017.

Genil Sugar Factory. Ph: M. Lastra. 2017.

Dúrcal bridge. Ph: M. Lastra. 2017.


mockups and modelling JEWISH MUSEUM. Berlin, Germany. Daniel Libeskind. JEAN MARIE TJIBAOU CULTURAL CENTRE. Numea, New Caledonia. Renzo Piano. ADMINISTRATIVE SPACE. Brussels, Belgium. Marta Lastra and Evelie Roelands.


jewish museum

jean marie tjibaou cultural center

Berlín, Germany. Daniel Libeskind

numea, new caledonia. renzo piano.

Composicion Arquitectónica I. 2014

Composición Arquitectónica II. 2015

Teacher: Juan Calatrava Escobar

Teacher: Ricardo Soriano Hernández

Team: Marta Lastra, Javier Montes, Gador Potenciano, Daniel Quesada

Team: Marta Lastra, Javier Montes, Daniel Quesada


new administrative space brussels, belgium. Studio Design 4A Teacher: Team: Marta Lastra, Evelien Roelands


photography Photografy has the impressive function of capturing glimpses of what the eyes can only retain for a few seconds. It allows us to share our own experiences and the way we see the world. Those four series represent how I am and the feelings I have towards the world.


ORIGINS

Torre de la Vela. Alhambra. Granada. September 2016

Klein Stadspark. Leuven. October 2015


VISIONS

Edifici Forum, Herzog & Demeuron. Forum de las culturas. Barcelona. March 2017.

L’Albufera. Valencia. Novermber 2017.


CANVAS OF LIFE

Sagrada Familia Basilica. Barcelona. March 2017.

Museu del Disseny. Barcelona. March 2017.


La Tabacalera. Madrid (Lavapies). April 2017

BEYOND TIME

Azucarera Nuestra SeĂąora del Pilar. Motril, Granada. May 2017


marta lastra +34 662028008 malf.arq@gmail.com

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