Paula Vidal. Architecture Portfolio 2019

Paula Vidal

Architecture Audiovisual

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Paula Vidal

Architecture Audiovisual

*Who am I* My name is Paula Vidal, I am an architect graduated in San Pablo CEU, Madrid. I had developed architectonic projects in Spain, Chile and Sierra Leone. In the summer of 2018, I participated in the Venice Biennial with two projects.

I use photography and audiovisual pieces as a way to experiment through theoretical analysis, all together with an artistic vision. These techniques have allowed me to investigate the space from a multidisciplinary perspective and keep stimulating me to continue asking myself questions

PROFESIONAL CONSTELLATION EXPERIENCES EXPERIENCES-

CONSTELLATION Winner Creativity Contest Short Film

WINNER VIDEO TALENTOS F. Santander

(2016)

Mathias Klotz (2013) Santiago de Chile (CL)

Montevideo (UY)

Universidad de la República ( 2014-2015)

Studio MMAD (2011)

(BR)

KUZE FEST (2017)

Winner Creativity Contest Short Film

MEMORY

(2014)

Winner Creativity Contest Short Film (2013)

Auxiliadora Galvez Carlos Asensio (KH)

SOMATIC

Freetown(SL)

Universidad Makeni

Exhibition COAM

(2013)

(2012)

MOVEMENT

Eslava y Tejada (2018)

(VN)

(CU)

Alvarez Salas (2018) Matos Castillo (2014)

Madrid(ES)

(JP) Selection at

Bienal de Venecia(IT) AFF Architekten

Picado y de Blas

(MA)

Fab. Lab USP. CEU (2014)

Yofi-Fest (2014)

Gastrofestival Instalation C.C. Conde Duque

Berlin(DE)

(2016)

Assen(NL)

Honorable Mention EUROPAN (2013)

Cities

New York(USA)

(2011-2017)

Distinction Final Project

(2018)

(current)

LANDSCAPE

Ann Arbor(USA)

U. S. P. CEU

Saskatchewan(CA)

METROPOLITAN SYSTEM architectural sociology

Prices

Profesional Experience

Formation

Objetives

Hitos

CURRICULUM VITAE

(+34) 669 125 655 _Phone pavidalgarcia@gmail.com _Email Spanish & Chilean _Nacionality 14 -XII- 1986, Madrid _Born

HABILITIES

PAULA VIDAL

Adaptability Ability to work in groups Problem solver Creativity

Architect + Traveler

PROFESSIONAL EXPERIENCE RELATED WITH THE JOB

FORMATION

2019 _ Architecture_ AFF Architekten Publication. Illustrations of constructive details of all their projects 2018 _ Architecture_ Eslava & Tejada Studio Execution Project Restoration Bulevar Santullano. Oviedo + Playgrounds 2017 _ Architecture_ Alvarez Sala Studio. EAS Housing execution project. http://www.eas.es/ 2016 _ Architecture + Director Video_Installation “Vapor al Vacío” Festival de Gastrofestival en Centro Conde Duque, Madrid Creation of video projections, video premiere, inflatables+ post-instalation Colective VAHO + Curators Estudio Picado y de Blas 2016 _ Design Wall Decoration for Tiradito Restaurant . Madrid 2014 _ Architecture _S tudio Matos Castillo Colaboration for the Concurso Guggenheim Finland. http://www.matoscastillo.com 2014 _ Fablab_ Intern at S.P.CEU University 8 months managing of the Printing and model Room , fab lab 2014 _ Video Director Presentation at Festival Yofi Fest, NY, EEUU Video “Paco Peralta. Back to Start” 2013 _ Architecture _Studio Mathias Klotz Project Hotel Wellness at San Pedro de Atacama + Antofagasta House http://www.mathiasklotz.com/ 2013 _ Video Director Publicitary Spot for Braviland. Promotional video for fallas. Valencia 2012 _ Architecture _ Master Plan at the Makeni University Sierra Leone. Collaboration with San Pablo CEU University 2011 _ Architecture _ Studio MMAD

San Pablo CEU University. End of studies July 2017. Final degree Project Outstanding _ Architecture Universidad de la República, Uruguay 2014-2015 _ Exchange University Program Universidad Autónoma de Madrid. 2005-2009 _ Art History Huron high School. Ann Arbor. USA _ High School

PRICES 2 University projects selected by the edition Becoming Venice Biennale _ 2018 Küzefest Festival. Projected over MAC. Open-Mapping. Chile Video Mapping-Director _ 2017 Winner, Creative shortcut Contest. U.S.P. CEU. “Gene Transfer”Video Director _ 2016 Second Price. Contest Videotalentos. “Gene Transfer” Video Director _ 2015 Fundación Banco Santander Yofi Fest Film Festival, NY, USA. “Paco Peralta, Back to Start” Video Director _ 2014 Winner, Creative shortcut Contest. U.S.P. CEU.“Materia Mater” Video Director _ 2014 Honorable Mention. EUROPAN 12. Ciudad Assen, The Netherlands Architecture _ 2013 V. Molina + A. Aracil + Ó. Llorente + C. Molina + A. Minelli + M. Wesley + P. Vidal Exhibition “Plazas de Toros Desmontables” Architecture + Video Director _ 2013 Las Ventas. Curators Picado y de Blas Studio Finalist Videotalentos. Fundacion Santander Video. “Yves Klein. Obsesión”Video Director _ 2013 Winner, Creative shortcut Contest. U.S.P. CEU. “Yves Klein. Obsesión” Video Director _ 2013 “Unimakinando” Exhibition. Sierra Leone. Solidarity week. U.S.P. CEU Photography _ 2013 Display “Anatomia Homo-Toro at RTVE Video Director _ 2012 Exhibition “Plazas de Toros Desmontables”Architecture + Video Director _ 2012 Colegio de Arquitectos Madrid. Curators Picado y de Blas Studio

SOFTWARE PROGRAM

PUBLICATIONS 2019_ AFF Publication. Work in Process 2018_ YA NO NOS IMPORTA Exhibition Catalogue 2018_ ATLAS. Aquellos que esperan Collective. Publication 2012_ Plazas de Toros Desmontables Exhibition Catalogue

Autocad Sketchup Rhinoceros Photoshop After Effects Premiere Illustrator Indesign Premetti Archicad

LANGUAGES Spanish (Native Competence) English ( Advanced Competence, lived in USA) German (A2) Italian (Basic competence)

LINKS PERSONAL WEBSITE (in process) https://www.pavidal.net

PERSONAL YOUTUBE. https://www.youtube.com/user/paukyipi

ARCHITECTURE

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AUDIOVISUAL

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CONTENT

PROFESIONAL EXPERIENCE

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*Why architectonical memory * My drive to become an architect arose at University, while studying History of Art. I felt I needed more than theoretical research. I needed a form of expression that began to shape in my childhood.

My paternal family had to exile after Pinochet Coup in Chile. My maternal family, forced by the agrarian crisis, left the town where they had lived for generations.

My grandparents and great-grandparents used to tell me, how were the houses where they had grow up in Toledo, Santiago de Chile or ValparaĂ­so. A universe transmitted by their memory of emigrants. Lullabies made of unknown architectonical spaces.

Politics and economy as a trigger for an architectural reality whose module is the human being. The space as a family album. Memory as a germ.

SPANISH PAVILION VENICE BIENNALE 2018 Entropic Trench is a study, proposed as a final project under the tutelage of Picado de Blas.

It rests upon a crack in the landscape, through the furrow of a trench in Santa Cristina park, Madrid. This site is the location where the civil war was surrendered.

The project is part of a research on the concept of ruin. In which, as a process of that investigation, a trench is chosen to work on. For the election topographic cartography has been studied, historic and current, and the another topography on the accumulation of sounds during war (through the mapping of the weapons found after the surrender and its sound scope), in addition to the acoustic topography of that same area.

During trench warfare, it is the sound that makes us aware of our opponent, since there is no visual contact. The sound change in the opponent manifests a sound change in the adversary.

The project retrieves the layout of a Civil War trench, reinterpreting it in a non-literal way.

Remote, therefore, from the original materials and the function that it had, trying to give back to the city a space of knowledge and leisure, which will allow for dialogue between the different agents and knowledge, in a transversal way.

Through this project, I confront the architectural memory of the civil war, trying to consider from its origin, a future ruin, or as Robert Smithson said, an upside down ruin, as opposed to the “romantic ruin�.

The geography of Santa Cristina Park, where I place the project, contains mounds of sand from the construction of the University City.

At the same time craters and trenches from the Civil War. It was here that the surrender of Madrid was signed.

Entropic Trench is a piece of research that reviews the concept of ruin. After the C. W. there was a decision to: cover-hide (University City); highlight (Belchite); monumentalize (Valley of los Caidos); forget (bunker del Capricho). Now, after almost a century, I propose to return to these spaces, reinterpreting their function and returning them the right to their deserved passage of time.

The trace of the trench tries to find a solution to: disconnection between faculties and absence of modernity, places of socialization and educational role.

The landscape intervention transform the trace of the trench in a crevice, that contains a overlap of walking paths. At the end of the cracks the constructions appear that will give solution to some of the problems of University City. The buildings that are built on this journey, are designed by a module of 1,5m wide, made of wood and corten steel, composed of 5 pieces with the shape of an inverted portico. This module, which is stiffened and anchored to the ground, integrates itself into the mountain, as a way to construct the crack.

The Project, takes over the memory of the great counterfeiters (Miguel Angel and the British follies of the eighteenth century), designing a future ruin. Eighty years later - the life cycle of the burned wood -, Digital Vacuum will become a ruin. And so, nature will reinterpret memory.

PAST + FUTURE RUIN

MADRID UNDER ATTACK 1936

SELECTED TRENCH STUDY

TRENCH STRUCTURES SAMPLES

MODELS TRENCH STRUCTURE

STUDY OF A FUTURE RUIN

TIMBER CATALOGUE

MEETING POINT AREA

SECTION TECH LABS

TECH LABS AREA

CONSTRUCTION DETAIL 1.50 SCALE

TRENCH CONSTRUCTIVE GROUND

VIDEO LINK

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The project is based on the historical footprints of Fonte da Telha, a town without urban structure due to the demolition of illegal constructions.

Fonte da Tehla, is a village near Lisbon, Portugal, which is associated with fishing. In the sixties, there was a process of vertiginous occupation for second homes, mostly illegal, thus passing a density of 17-45%. In 1988, the demolition of all illegal constructions was ordered.

Emerging so, a space of completely scattered houses throughout the area. Once this town was compact, nowadays it is a town with isolated houses.

Touristification on the coast is mostly temporary.

The season of good weather, makes these coastal towns, go from being half inhospitable and intimate spaces, to places in rampant maelstrom.

That is why the purpose of the project is to make a permanent construction, but at the same time allows to be readjusted according to the date of the year, thus being a mutable shelter.

The plant of the set is divided into 5 parts.

The first one is oriented to the outside, bars, sports office, subspaces that the hostel rents.

The other four look inward, like an Arab house-patio. The first area that we find as soon as we enter, are public spaces, reception, kitchen, restaurant. A second zone, focused on young people, who do not want to spend a lot of money, like surfers mostly with hammocks, in which we find a diaphanous space where hammocks can be . The third zone, is the economic one, with shared rooms, and the last zone, the vip, it’s the most expensive with mini apartments. All of them have hard ground and the walls are made of fabric, which is hung from the horizontal part of the mast, through which the facilities also pass, since it is fixed.

These structures are reminiscent of a sailboat mast, so they do not occupy the same visual space when they are in use, than when they are sleeping.

SCARRED FONTE DA TELLA

1976_ Caparica_ Fishing Village

1988_ Caparica_Growth

2005_ Caparica_ Ilegal Demilition

2016_ Caparica_ Present

PROCESS SKETCHES

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MUTABLE HOSTEL

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Permanent Construction vs Mutable Shelter

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Following Foutprint Historical Houses

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Touristification vs Residents Periodic Transformation

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Sailboat Reminiscent

FULL OCCUPATION ORGANIZATION

MODIFIABLE STRUCTURE

The Win Win Project. Hydroponic market, aims to return the essence of community neighborhood to the District of Legazpi, after the disappearance of markets and common areas of the neighbors.

This public space is annexed and extended to Madrid Rio, becoming a green belt or roundabout that extends the route. Inside the building, the vegetation increases until it becomes a forest and a field of fruit trees.

Through a social ecology, the interrelation of agents and elements of the neighborhood is sought. A capitalist urban bartering.

The Hydroponic Market is conceived in Fallow.

At certain times of the year function of the market changes, and architecture adapts to the season.

There would also be a school farm linked to the schools in the area.

The industrial space contrasts with the vegetation generated by the hydroponic gardens.

On the other hand, fixed spaces continuously host the use of the market. When a larger space is required, the platforms lower down. They join the ones on the second floor.

The aim is to bring the ecology closer to the neighbors. It is a sustainable way to reduce their costs at the time of purchase. We use the South faรงade, which faces the road, to store the hydroponic gardens. The whole building becomes a space in fallow, without floor. Through mechanisms, the orchards are moved to collect sunlight, or be approached to the clients. These mechanisms are fed by the garbage of the neighbors, producing energy with bio-gas chimneys.

ACTORS OF URBAN SYSTEM

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Old Building Structure

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Hydroponic Market area

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Social Ecology Biogas Chimeneys

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Green Belt Forest Public Space anexed to Madrid Rio

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Market vs Eco- Education

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Privat vs Public Space

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MARKET VOLUME

Old vs New Structure

NEIGHBORHOOD CO-RELATIONS MECHANISMS a.01

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+ Playground a.02

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a.03

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+ Hanging Garden d.01 +

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+ Chilling

+ Elderly Exercise d.02

d.03

RUNNER UP AWARD EUROPAN 12

The Waste-Land project introduces an alternative to the development of standard zones. It is argued that the entire Havenkwartier neighborhood, in Assen, can be seen as a catalog of building materials, that should be used to transform the area.

Future occupants and existing neighbors could use the material to create a new construction environment. In this way, the existing character of Havenkwartier is preserved in a natural way.

Building with unconventional elements such as oil drums, old tires and storage racks could inspire people to devise innovative and creative solutions.

The correlation of this process with education and the exchange of the knowledge acquired, creates a united society in Havenkwartier. * Jury Report * The jury awards a special mention to an entry that focuses on sustainability. Assuming that over the years, more and more businesses will leave Havenkwartier, the designers have developed a concept for entering the materials in the disused industrial buildings in a catalogue.

A community could develop in the area that reuses these materials to build housing.

In addition to a clear presentation of the process on which this is based, the entry addresses a subject of topical interest by pointing out the changing role of the architect. His or her task in this case is not so much concerned with devising a form, but chiefly with guiding the community that will develop here and that considers self-activation of paramount importance.

For the rest, there is no escaping the laying down of a spatial structure, including the proposed “organic” development process.

*Collective Authorship.* Vicente Molina Domínguez, Alfonso Aracil Sánchez Óscar Llorente Martínez, Ariel Minelli, César Molina Domínguez, Paula Vidal García, Matthew Wesley Sholander.

CHANGING ARCHITECT’S ROLE

STUDY OF A INDUSTRIAL QUARTIER

CATALOGUE BUILDING MATERIAL

The Project of the Communal Auditorium, addressed to relocate the look in the recovery of the Historical Memory, is based in the university city of Madrid, in the park of the Clinical Hospital. An area noticeable by structures of the civil war´s battlefront, shelters, knots, machine guns, underground galleries, and trenches, are very abundant in this area.

The project is an auditorium and educational spaces of music that aims to recover the old trenches and create new ones, connecting them with spaces of sound and silence.

The project is developed on two levels.The lower level is dedicated to memory and silence, and therefore, it is the space of the old trenches. The idea is to recover them as transit spaces that will lead to new trenches.These new trenches will host activities related to silence and will be built under the modules of the upper level.

The upper level, dedicated to sound, contains four types of circular modules, whose plant respects and rises over the layout of the old trenches. This level is linked by a platform.

The largest diameter module of 27 m, housing research spaces and the secondary auditorium.

Another three modules, 18 meters in diameter, have a more private tendency, such as educational classrooms and common dressing rooms. The smallest module, 12 meters, is a private space, composed of individual dressing rooms and administrative spaces.

The building structure is closely linked to the environment to which it is inserted, a park of tall, leafy trees. The upper floors of the modules are suspended from masts, which maintain the height of the trees in the park, thus making a mimetic exercise.

In summary, it is a project that tries to combine the concepts of memory, education and sound. At the end of the Civil War the possibility of leaving the university city as a field of remembrance of the years of struggle was considered, but finally it was decided to rebuild it, maybe it is time to listen to the sounds of that silence and create new ones.

MIMETIC STRUCTURE

STRUCTURE TACTIC

EDUCATIVE SPACES OF MUSIC

AUDITORIUM SYSTEM

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+ L02_Horizontal Platform Outdoor Concerts

+ L01 Old Trench in the Hill Natural path

+ Structures Upper Level

Music Spaces_Auditorium

+ Openings to the Under Level Silence Architecture

CONSTRUCTIVE SYSTEMS

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*Camera in the hands of an architect* The first time I ever used a camera, I had nothing to tell, I didn’t have the need to experiment or transmit anything with it in an abstract way. I just felt the need, to capture a moment of my life, that I knew it was never going to be repeated. I captured my family stories told by my grandfather. I used the camera, the same way I could have used pen and paper.

Since then I lost the scariness of the first time, and I went from documenting my life to experimenting in an abstract way, being able to express concepts with it.

Nowadays, I use videos, as a painting technique in architecture - video mapping-, but also as a way to tell stories -as literature does-, and even more, as an artistic vision that allows me to transmit abstract concepts into sketch or a haiku.

Filming, it’s for me an instrument of investigation, that allows me to experiment the nonphysical spaces.

WINNER PIECE. SHOT FILM U.S.P.C CONTEST

Memory Scenes, is a line of research, developed over four years, which seeks to discover the essence of spaces, what is immanent in them, through three approaches: Wide Shot. Medium Shot (family space). Close-up (personal space).

In the scholastic philosophy, memory was a power of the soul. Following this reflection, Memory Scene attempts to give voice to the immanence of spaces through three levels: political, familiar and personal. Keeping in mind that 80% of what is remembered is reinterpreted. Memory Scenes oscillate between fiction and reality. *Wide Shot: Folly. Entropic Trench* Folly is an audiovisual art piece which is part of the Entropic Trench project. The audiovisual piece shows with a metaphor, how even when the trench its reinterpreted, that presence continues. *Medium Shot: Materia Mater* The abandoned house of the Villaluenga family is a space that began to fracture with the absence of the great-grandfather. The patio, in particular, was the center of family memory.

The most truthful way to capture it, is with recreation, with a translucent vision that allows you to imagine and collect, like a butterfly hunt, something as ethereal as memory. The voice of my grandmother, a girl then, is the oral witness that turns those stories into legends. *Close Shot: Gene Transfer* Gene Transfer investigates one of the qualities of memory: the transmission through the experience of life. This piece addresses personal memory.

Unique in the development of the self. Also acquired. In this case, the transfer is from grandmother to daughter and from daughter to granddaughter. The body is the container of memory and transformed reality.

*MS: MATERIA MATER* The house of the Puebla, is a place that has been forgotten, it state is in semi-ruined. The space is piled up with lots of stories that had been created here, a space that was ones full. Today is a space without voice. It can not speak, you can not hear anything from it.

“The poetic word, when it is manifested and been received, it invites us to enter in to an extreme territory, into the territory of extreme interiority, in a place of no place, no where, in a space that is both empty and generator, concavity, matrix, mater matter, memory matter, origin. “ José Ángel Valente *Vicenta Villaluenga Abstract* “Four generations had lived in this house, where they had always been dedicated to making wine.

The patio has performed very important moments, it welcomed people who wanted to have a glass of wine, or a sangria ...- It was the family tavern, where people came to rest from the long workday. Everything changed the moment my father died. My mother closed the village tavern, but decided to continue selling wine wholesale.

That’s how the third generation, mine, could start enjoying the patio.”

“For my mother, the patio was her life, her hobby, it was everything for her, because even do she was in her room, she always went outside to the patio. For her, when she was older, it was the most important thing in her life, she kept herself entertained, it gave her the strength to watch how it became more beautiful every day.”

PLACE OF NO PLACE

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SPACE WITHOUT VOICE INFLATABLE’S MOVEMENT

UNCOVER WHAT ITS FORGOTTEN

Family pictures around the Patio

Patio nowadays

Patio when Juana inhabited it

KUZEFEST SELECTION CHILE 2017

The whirlwind that lives in the urban nuclei makes nature be perceived as an inert and alien landscape. The earthquakes place us in reality.

That kind of energy is stuck in the collective memory as milestones; it helps individuals organize their memory and confronts them with death, making people feel vulnerable confronting them with the abyss of nature.

Mapuches believe earthquakes to be a expression of cosmic imbalance, which must be shaped up by men through propitiatory rites, in order to re-establish the link between the human world and the sacred world.

Friction “XX”, its a videomapping piece projected at the Museo de Bellas Artes Façade in Santiago de Chile, that tries to emulate the language of memory, through a set of disconnected images, and without timeline. We intend to transfer the spectators in to their own personal memories, through images and sounds superimposed as a collage.

The sequences of earthquakes are appropriate, extracted. We appeal to the collective memory, not only of what we had lived, but also those images that we have seen through the media, or stories that have been around us about those events, which are also part of the memories of these telluric movements. Therefore, Friction XX is a set of unconnected images in movement, which help us to evoke the fragmented imaginary that remains in us.

Collective Authorship: Las Verbenas, Montserrat Albarracín (CL), Guadalupe Puentes(UY), Paula Vidal (ES)

EARTHQUAKES COLLECTIVE MEMORY

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GASTROFESTIVAL MADRID 2016

On the occasion of the celebration of the Gastro-Festival Madrid 2016, an Architectural-Artistic intervention was organized in the Centro Conde Duque in Madrid, with the aim of housing a gastronomic tasting inside, under the curatorship of Picado de Blas.

The tasting areas were divided into different spaces, based on the three states of matter: liquid, solid and gaseous. Within each bubble, actions related to sponsors of the event were carried out: tastings, projections, performance, audio, audio with recipes from different countries.

An ephemeral installation was proposed that had the objective of combining artistic concepts, typical of architecture, that functioned as platforms for gastronomic evocation.

For these pneumatic structures could evoke the cosmos of the gastronomy that was going to be tasted, some projections were proposed from the outside of the bubble, in such a way that they could only be seen clearly from inside them. The shadows, generated by people passing between the projector and the bubble, helped to isolate the experience of the real world, evoking the metaphor of Plato’s cave.

This installation, composed of different pneumatic structures, remained contained within one of Conde Duque units. On the inflatables were projected video pieces that evoked tasting.

Vapor in a Vacuum intervention, proposes the reactivation of the central unit of the Conde Duque Center, through changes in its occupation and conceptual scale.

The project was conceived as a set of Alephs that, trapped between the columns of the architectural space of the Centro Conde Duque,it will move the visitor to experience another reality.

For that, we accepted the concepts of lightness and vapor, thus creating a space generated by a light plastic material, inflated to overpressure, volatile and translucent, which moved in a stable way through the currents that the people themselves generated through the walking.

The objective was for the visitor to interact with these environments of withdrawal. Entering the inflatable bubbles, moving away and opening passage in a place of encounter and sensory capture.

ALEPHS INTERRELATION

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VAPOR LIGHTNESS

TASTING PROJECTION

Anatomy: Homo-Taurus.

Its a filmed performance that questions historical anthropometry. The closeness between bull-human being.

The man, in his origin was one of the last links of the food chain. His own body was a reference that allowed him to select which animals he could individually hunt. Whether it was the pharaonic ulna, palm, hand, yard, or foot of the king of the middle ages, all measurements were referenced with the male human body.

In 1670, the abbot and scientist Gabriel Mouton, proposed changing that pattern of measurement and transforming it into a unit based on the dimensions of the Earth. A decision that would not come to be unified until 1798. This metric form facilitated trade, but also dehumanized the relationship of distances.

Le Corbusier, like Vitrubio, Alberti or Da Vinci, tried to find the measure of architecture, through the creation of the modulor.

This is the context of the audiovisual piece Anatomy Homo-Taurus, which aims to anthropomorphism the animal. Almost in a magical way, reminiscent of cave paintings, a woman draws the perimeter of the bull. But this drawing is something else. It resembles the figures drawn by the scientific police around the body of a deceased person, in a public space. It is a nod that symbolizes the murder of the bulls, giving it execution designed for humans.

The woman who has painted it incorporates the experience of the proportions of the female body.

Find nooks, planes, positions. She lies down beside him, looks straight at him, measures herself with him, looking for that proportion that resembles them. Unusual outskirts.

Paco Peralta. Back to start.

Documentary piece about the creative moment of Paco Peralta, Silver Medal for Merit in the Fine Arts (1990) who began to create the transmission puppets, for the poetic tale of Montserrat del Amo “La noche”.

“I’ve been working on the Transmission Puppets for more than 30 years. I have been creating them little by little, in discontinuous travel.

I have managed to get here, through the search for knowledge, the depth in the dramaturgy itself, and its characters, but part of this knowledge I have been finding in a spontaneous way.”

Authorship.

Film directing and creation: Paula Vidal Photography: Alexandra Nikolova CS_Gene Transfer.

Inspired by the work “Por um fio”, by the artist Anna Maria Maiolino, where she is photographed with her mother and daughter. Gene Transfer investigates one of the qualities of memory: the transmission through the experience of life.

This piece addresses personal memory. Unique in the development of the self. Also acquired. In this case, the transfer is from grandmother to daughter and from daughter to granddaughter.

The body is the container of memory and transformed reality.

SEVERAL AUDIOVISUAL PIECES

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Anatomy Homo-Taurus Paco Peralta. Back to Start Gene Transfer Follies Entropic Trench

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https://www.youtube.com/watch?v=7kp8roz6jJ8 https://www.youtube.com/watch?v=R_O7ek3eDlc https://www.youtube.com/watch?v=2Cu_7YrsULM https://www.youtube.com/watch?v=KEdUPUvd-5w

*Benidorm. Learning from Las Vegas* Discovering the city of Benidorm throughout the book of Venturi and Scott Brown “Learning from Las Vegas” We investigate about tourism and the architecture of contradictions that it generate.

“Substance for a writer consists not merely of those realities he thinks he discovers; it consists even more of those realities which have been made available to him by the literature and idioms of his own day and by the images that still have vitality in the literature of the past. Stylistically, a writer can express his feeling about this substance either by imitation, if it sits well with him, or by parody, if it doesn’t”.

Learning from the existing landscape is a way of being revolutionary for an architect. Not the obvious way, which is to tear down Paris and being again, as Le Corbusier suggested in the 1920s, but another, more tolerant way, that is, to question how we look at things.

The commercial strip, the Benidorm Strip Las Vegas Strip in particular- the example par excellence- challenges the architect to take a positive, non-non-chip-on-the-shoulder view. Architects are out of the habit of looking nonjudgmentally at the environment, because orthodox Modern architecture is progressive, if not revolutionary, utopian, and puristic; it is dissatisfied with existing conditions. Modern architecture has been anything but permissive: Architects have preferred to change the existing environment rather than enhance what is there.

ARCHITECTURE OF PERSUASION

BENIDORM SIGNS AND ORNAMENTS

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ARCHITECTURE OF CONTRADICTION

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*Why multidisciplinary experience* My professional experience had been multidisciplinary. I had worked in different tasks, from Graphic Design, Investigation, Urbanism, to Architectonic Contests.

All this experiences, I believe to be layers of information and knowledge that helps me to aboard any project from different ways. Reading projects connecting different artistic areas that apparently are not connected it’s a leisure i have. It helps me to be comfortable creating in the outside of my comfort zone.

My way of involvement in the projects its of full commitment.I try to address the projects required from different systems, and strategies, to create a new way to approach the required Exercise.

AFF Architekten, it’s a German Studio located in Berlin. Their work is based on the understanding of architecture as something objectual. They try to understand the relationship between the object and its place and the character of its task. In the infinite variety of possibilities and requirements, they pick up on existing things and try to filter out their specific characteristics and traditions in a variety of ways, but they go beyond existing conventions.

During 7 months i worked in this AFF, i was engaged in different jobs. My first assignment was to redraw 15 projects of the studio for a monographic book. The studio wanted to expose on the drawings the concept of their architectonica believes.

That’s why the AFF books tries to display this idea of the observation and analysis of different qualities of the objects transforming it through a design strategy of the interpretation and use of metaphors.

The concept of the serie was to show the construction details as objects. A detail can not be understood if it’s not thought a context in which it is assembled, and the order of building it.

That’s the reason why each serie counted with, two isolated 3d details in between 1/ 5 and 1/ 10 scale, and this two objects area contextualized in a constructive section in perspective, with a 1/ 50 scale.

TRIPYCH COMPOSITIONS

Object 01_Column Detail

Object 01_Wall Detail

Project 05_Church St. Petri-Pauli in Eisleben. Germany

Project 11_Anna-Seghers-Schule in Berlin. Germany

Object 02_Font Detail

Object 02_Window Detail

Forest and Valley its a project designed by the studio Eslava y Tejada, for the renovation of the Boulevard San Julian de los Prados, Oviedo.

In the entrance of the spanish city, they propose to articulate on a boulevard that its between 3540 m wide splitting the traffic in the extremes of the boulevard. In between a small urban forest. In the middle, a large forest spot with native species that as it gets closer to the patrimonial building of San Julián de los Prados, it grows becoming a small urban forest with a large lake in the center.

The project integrates the abandoned complex of the weapons factory in the city, projecting the demolition of the wall. Its generated a new street attached to the industrial unit, which over the years would become a building with low commercials and views towards the new lagoon of Santullano, next to the Pre-Romanesque church.

The boulevard has pedestrian and bicycle paths.

The lake itself, which will have a pier, can be crossed. There are also new bus lines that will connect with the area, and in the green mass are proposed areas of children’s games, traditional, picnic spaces or sports tracks. In the space gained from the Los Prados car park, an outdoor amphitheater is designed on the surface.

During 7 months i worked with Eslava and Tejada side by side working in the Project Execution redesigning the traffic, pedestrian and cycling paths. My special task during the project, was to investigate and develop children’s spaces distributed along the path. Each playground has its own autonomous caracter.

The children’s areas are strategically located to take advantage of the slope of the ground as an element of recreation, or as a protective space.

Two play areas are proposed at the west end of the boulevard, closer to the Rubín neighborhood.

These areas are thought out to provide as amusement areas for childrens, due to the proximity of schools, nurseries and institutes. They have a more intergenerational character, and more natural character, for that reason most of their elements are treated with local wood and stones. *Playground 03* This recreational area its composed by circular terraces, thouse spatial elements are used as a way to differenciate the spaces. All the game elements have in common that they have rotative actions. The terraces are delinated with logs of wood that protrude from the ground, and that generate spaces to sit.

The playground is divided into two zones, which appear on two sides of the road. These areas at the same time are separated into three other and two sub-spaces. All these segmentations are open and connected. Some islands are projected on the edge of the road, which contribute to increasing the feeling of separation through landscaped areas with wood borders, and with trees inside.

*Playground 05* We call it El Álamo, as a synecdoche, since one of the singular elements of this area are two inverted poplar trees that form a hut.

This space is delimited, on one side by a slope, which separates the playground at two heights, with the lower one being the main one, and the upper one part of the course.

This space has 3 play areas for children of different ages, and it encourages motor games of travel, jumping, climbing, and symbolic play.

CHILDREN AREAS CHARACTER

Aquellos Que Esperan is collective and multi-format project in constant development. Their main concern its to analyze the urban planning, analyzing the architectural model and its impact in population. They started documenting life in the Orcasur district of Madrid, in 2012, since then, they had continued in Courneuve, in the suburbs of París, and La cité modèle, Bruxelles.

They approach the urban planning, analyzing the architectural model and its impact in population.

Compiling all kind of archive material and information about the the origin of the slums they have worked, when it was just a shanty settlement and how it mutated to a neighborhood.

During their early works, they had translated their experiences, comparing the individual and place thought two photographical volumes about the neighbourhood of Orcasur in Madrid, “Vol. 01: Así nace la espera” and Courneuve, Paris, “Vol. 02: La Même Indifférence” Relying on photography, video, audio recording and wording, offered by different production and exhibition formats., they seek to create a new narrative code by means of development and investigation in the space of present day new documentary style.

This collective decided to do Atlas, a parallel book to the other 2 volumes that was an catalogue of brutalist living housing around the world, its call Atlas. This Dossier it’s not a research with conclusion, but a dor to possible new projects.

“The same set of measures applied on a large scale will produce identical or very similar results in different societies and at different times.”

CATALOGUE

The Guggenheim Helsinki proposal detailed an innovative, multidisciplinary museum of art and design. It called for a design of the highest architectural quality and envisioned a museum that created a meaningful presence in Helsinki and offered civic space where both residents and visitors could gather. .

The museum building was planned to include galleries, a flexible performance hall, educational space, a large cafe/bar, a smaller formal restaurant, administrative offices, practitioner spaces, collections storage, a retail store, and other facilities. Outdoor spaces for the display of sculpture and projects were also proposed.

I worked for the studio Matos y Castillo to support them on the design of the contest. The building created by the studio tried to connect the huge slope of the existing street, with the harbour. The building worked itself as Piazza, and a lookout of Helsinki. The natural forms, helped to the building to have a character that was running away from the idea of being an icon.

The studio of the light was very important for the creation of the project, creating openings, and patios inside the building shell.

MUSEUM PROJECT

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Paula Vidal pavidalgarcia@gmail.com +

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Architecture + Audiovisual

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Linkedin ____ https://www.linkedin.com/in/paula-vidal-garc%EDa-82b091103/ Web ____ https://www.pavidal.net/

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