Page 1


COMPUTER KNOWLEDGE Autocad – Advanced Adobe Photoshop – Advanced Adobe Ilustrator – Intermediate Sketch up – Advanced Rhinoceros – Intermediate Grasshopper – Basic Microsoft Office – Intermediante LANGUAGES Spanish and French: Native Danish and English: Advanced PERSONAL INFORMATION Email: Phone: + 54 9 11 6536 0255 Age: 25 Nationality: Danish

My name is Carlota Pedersen-Madero. I am a Danish architect graduated from the Universidad de Buenos Aires. I have always lived in Argentina but spent long periods in Denmark and France. My father is Danish and my mother is Argentine but both of them lived many years of their life in European and Latino American countries. My linguistic formation has always been plural as in my family three languages were spoken: French, Danish and Spanish. From this childhood experience I have learned that languages involve different practices, different forms of relationship and peculiar cultural artefacts. Architecture has always been my vocation, it transcended from a career into a way of life as I enjoy dealing with every architectural challenge. During my academic studies I discovered different branches of architecture and design which aroused my interest, particularly urbanism, landscape design and industrial design. During two years, I worked as an assistant professor in “Introduction to contemporary architecture” and participated in a project to study the inconsistencies of urban structure of Buenos Aires. At 22 years old I started being an entrepreneur, by building my own studio and two houses, as well as making the project of another one. I also remodeled four apartments and made the design of two restaurants. I have personally participated with my own hands in the building of two houses for the ONG (Non Governmental Organization) “Un Techo para mi país” (A dwelling-house for my country) and organized a series of conferences on architecture and its relations with literature, city, art and history. I understand that there is a high competition to apply to your office. Notwithstanding I am very interested in having an opportunity to work in your firm, for which I am ready to give the best of my efforts. I am looking forward to your kind answer to my application. Sincerely yours, Carlota Pedersen-Madero

My grandparents, Beba and Ricardo Piglia, have spent a large part of their lives living in two countries. For six months of the year, they would reside Buenos Aires and for the other six months they would be in Princeton, New Jersey, where Ricardo taught Latin American Literature. When he retired from his teaching position a few years ago, Ricardo thought he should not abandon his habit of living between two homes situated in such different surroundings. With Princeton in mind, I thought that I had to find them a plot far from Buenos Aires to spend a good part of their year. The search lasted two years. Ricardo was always remembering his childhood in Adrogué, a luscious suburban neighborhood, and Mar del Plata, a city next to the sea. I finally found the plot, located in Uruguay in Punta Colorada, right in the middle of a forest sprawling along the sea. From that moment on I began to see my grandparents under a different light. I observed their ways, their uses of space, and I would listen to their comments and complaints about places, objects, and practices that would please them or annoy them. My plan had to render Ricardo’s need of solitude for his writing activity, as well as Beba’s need of a social life surrounded by youths busied with artistic endeavors. For instance, I noticed that Ricardo had organized his two studios in the same way and that Beba was always working in places that were not planned for her use. To observe my grandparents as an ambushed hunter was a very interesting experience.


At that moment, I was twenty-two years old and was halfway through my academic education. Thus, I invited to the project an architect that I consider as my most inspiring teacher. For him the immediate surrounding of the house, the vegetation and the light were essential. The house coloring would be that of the rocks around the construction. ‘This house’ Ricardo said ‘is the image of my own head’.

I am a writer and the idea of having a summer house that could also serve as a place for working was fully accomplished. When I saw it for the first time I had the feeling that the ideal notion of the place that I had previously conceived in my mind had been perfectly captured. This unique space (placed in the park among trees) has been used with extreme elegance and intelligence. And most important, as soon as my wife and I installed ourselves in the house we had the impression of having lived there for all our life. We immediately moved around in a very natural way. It was a wonderful experience of beauty, confort and functionality. With great enthusiasm and joy, I must say that this perfect place gave us the opportunity of passing a part of the year out of the city in a house that we had long time imagined and which realization exceded our expectations. We are very grateful to Carlota Pedersen who understood with great sensitivity and brightness our deepest hopes and made this project possible. Ricardo Piglia.

Project designed for Francisco Pachelo. The investor in this project is a young business man.


Francisco bought a plot in a large country club, forecasting that the price on the property would rise. His initial idea was to build a modest house and to sell it immediately. As the project advanced, however, Francisco became more and more enthusiastic about it and planned to inhabit the house for a couple of years. Finally, the project was approved, but it was suspended for lack of funds.

Delivery Gourmet was a take-away and delivery chain.


The owners of this small chain thought that both the looks of their businesses and the name of the enterprise were inappropriate to the image they wanted to convey. To re-do the businesses I chose the northern European look, strongly present in my mind. It seemed to me the most pertinent alternative because of its lack of ornament and discretion. I chose a word that would have a letter that deviates from the Latin alphabet: Brød, the term for bread.

We could propose a hypothesis according to which architecture must have three forms of memory. Architectural memory of the designer. Memory of the place with its characteristics, morphology and history. Social cultural memory, “if one can only say what one can see, one can only see what is said.” From what perspective we think the surroundings when we design?. Shouldn’t a building say “I am as you see me, and I belong to this place.” The surveillance that favors the feeling of persecution pleases at the same time narcissism and pushes for exhibitionism.

We are in a culture where originality is associated to private property.

If we think that knowledge has always been associated with power, then we can think that seeing is knowledge and knowledge is power. Therefore we can conclude that seeing is power but if seeing does not belong to just one person and then everybody sees everybody, could seeing still be power? Or is it only a condition? If all that is real is also visible what does not have an image becomes rumor. Being seen leads to think that there is an Other that wants to see and for whom seeing is pleasure: reality is paranoid. How do we explain a work of architecture?

If I only can say what I see, I can only see what is said.

Who is the owner of the form? Can we adjudicate a form to a person?

There are images that condensate an intense feeing, these images mutate, they change, but they last throughout the centuries.

Following a civic and community tradition all public spaces are seen positively . Public spaces have different energies and different meanings in different cultures Does the public space last without events? Is a desolated park a public space?


It is enough to listen to what a person says when she says that she is watched constantly, that she is observed from all angles, that the all world has its eyes on her. We can pity her torture, but we can also say to ourselves ‘Who does she think she is?’


Caustics, reflections and shadows. I always liked to experiment with matter in relation to light. How light can completely change the form of things, how different substances and textures affect the light.


I was invited to join a research project directed by Arch. Liliana Calzon (UBA) We had to analyze why the urban structure changed at specific places. I had to work on the reasons that could explain the strange form of a street near the Parque Las Heras. The information was scattered –as I found out- in two small libraries, a city museum and the archives of the city. Here is what I found.


Flooding area in urban zone of Buenos Aires.

Residential housing for flooding area with common spaces, provided with equipment for local fairs and market .

Exercise on how will the city look like from the countryside in 100 years.

Exercise on how will the city look like from the countryside in 100 years.




1 A. Urban structure and topology DF topographic irregularity does not allow an constant orthogonal structure. B. Green and Blue spaces. Studing a specific site of Mexico DF, the predominance of built terrain over natural terrain becomes visible. C. Lakes in the area of Mexico DF. D. Lakes in the north area of the city of Buenos Aires. E. Parks in the area of Mexico DF. F. Parks in the north area of the city of Buenos Aires. G. Gradual extinction of Lake Texcoco begun in the 1500.

2 A. Tenochtitlan: Composition and conformation of the Aztec Empire. The geography of Tenochtitlan was composed of four islands. The growth of the city is progressive and organized. Tenochtitlan grows in rectangular modules called “ Chinampas”. They maintain between the “Chinampas” Canals which were used as a way of transport. B. Invisible traces. Tenochtitlan is not visible today,traces were buried in the rubble of a violet conquest. The metro is the contemporary representation of invisible traces that also hides in the depths of DF. Could this be the contact with those traces of the past?



4 A. Ucronias. What would have happened ir Hernan Cortes had never discovered Mexico? What would it be like if Lake Texcoco still existed? How would it be if they had kept the Canals? What if the pyramids of Tenochtitlan would still exist, would they be ruins or would they be a public space? B. Lake Texcoco


Studios and Art Galleries at the Neighborhood of Villa Urquiza. The assigned task required four studios for artists and a gallery where they could show their works.


The assigned task was based on an existing building, in this case the church located in the three crossing streets of Alvar Aalto. We had to choose a theme and a material; we had to elaborate a catalogue that addressed some repeated patterns. I selected the structure and its meeting segments, particularly their articulation.


Museum of Statues at the District of Villa Urquiza, located at the Ex AU 3. The organizing idea conceives this not as an enclosed space, but as meandering open walkway populated with statues.

The assigned task was to locate an urban district in the center of Buenos Aires and to make a proposal to revitalize a scarcely used area.


In this case we encountered many abandoned houses, a reason for which we planned many public programs such as museums, cultural centers and parks. The elaboration of this project took place during the National Independence Bicentenary, an event that lends its name to the main park.


Cultural Center Located in the District of Palermo This building has two constructions, one for a theater and the other for a museum with two galleries. These two buildings are connected underground. The entrance to the building runs though a public park that is also used to display many statues.


A pavilion for expositions and the design for a park located in the neighborhood of La Boca facing the river. The pavilion was conceived as part of the park promenade and a ramp allows its use as a vantage point facing the River Plate.

Carlota Pedersen Madero  


Carlota Pedersen Madero