MESHES AND DIAGRAMS[CAAM - LOS BALCONES 11 Y 13]
Til Marks Over Circular Pivot Tracks (ALEX MAC LEAN)
Alex MacLean
STRIPED ORCHARD ROADS
Annecy Region, France 2008
Photography
TILL MARKS OVER CIRCULAR PIVOT TRACKS
Ravenna , Nebraska 2008
Photography
Pilot and photographer Alex MacLean has flown his plane over much of the United States documenting the landscape. Trained as an architect, he has portrayed the history and evolution of the land from vast agricultural patterns to city grids, recording changes brought about by human intervention and natural processes. His powerful and descriptive images provide clues to understanding the relationship between the natural and constructed environments.
Archivo Bienal
MALLAS EN LA GOMERA
Photography
Palisading in grid to make a mesh, suspended about 50 cm over the ground. The mesh is adapted to the local topography and can be used as a vineyard.
Federico Soriano y Dolores Palacios
DIAGRAMAS Y PROYECTOS
Museo Paleontológico y de
la Evolución Humana. Tore Pacheco . Colegio San Pelayo.
Ermua . 2003-2008
Photography, diagrams, infography and video
They regard the project as landscape. They understand each intervention in its totality. They look into the interactions between the spaces, between exterior and interior, between situations and objects. They build with actions and dynamic geometries. They play with phenomenological and perceptive materials. Their changing projects, with mutant abilities, use time as a material in their work, which establishes a process as a starting point. To these processes they associate thought structures, in the shape of diagrams, which are able to adapt to current demands. They use diagrams as a working tool.
Ecosistema Urbano
CIUDADES DE CÓDIGO ABIERTO
2008
Photography, plans, computer graphics
The de-structuring of the city in the 20th century has given way to a moment of perplexity and uncertainty vis-à-vis the future. A number of urban fragments that are not “the city” have been generated throughout recent decades, conditioning the development of future generations.
We are aware that many of the world’s most difficult environmental challenges may be dealt with and resolved by cities. In contrast with a model of intervention proposing the demolition of the problem, there is an alternative way of intervening in the city, giving priority to an optimisation, diversification and regeneration of the urban space that does not involve the consumption of huge amounts of funding and resources, nor the production of large quantities of waste. Actions susceptible of planting the seed for self-repair and to turn the citizen into an active part of the urban space.
Diego Cayuelas
HÁBITATS EVOLUTIVOS
2008
Drawings and infography
The project is grounded in the need to tell a story of sailors, biologists and architects… with their feet caressed by a reflection of the sea as they look to the horizon.
How can one live in a seashell? A space that should be prepared to evolve throughout time, absorbing the various types of lives awaiting it. Naturally conceived for generation under the Sea, symbiotically with the subaquatic system.
The works carried out by Wolf Hilbertz (architect) and Thomas Goreau (biologist) in Bali, Permuteran, were decisive. Low-tech accelerating the coral growth process for the sake of the health of the world’s seas. Fascinated with a chance to see the unbelievable possibilities opened up through science by two pioneers into the field of interaction of man with nature. As Hundertwasser said: “If man is a guest of nature, then he must learn to behave like a good guest”.
BIG (Bjarke Ingels group)
Bjarke Ingels, Ole Schröder,
Karsten Hammer Hansen,
Julie Schmidt Nielsen, Michael
Ferdinand Eliasen Henriksen,
Jerôme Glay, Simon Potier
WTC II PROYECT WORDL TRADE CENTER VILNIUS
2007
Video
Client: World Trade Center Vilnius + Baltic Petroleum
Location: Vilnius Lt
Size: 200.000 m2
Status Ongoing
You are entering the twilight zone between architecture and urbanism when designing a project of this size. Urbanism is most successful if it happens slowly. Vilnius WTC should be an organic structure capable of accommodating the flows of people, integrating different programs and activities as well as incorporating change over time. Like the fractal structures we can observe in the branches of a tree or the crystals of a snowflake, we imagine the different functions of the new commercial and cultural neighbourhood to reach out and connect with the surrounding urban environment - an organizational diagram as an architectural expression.
Fields Operation
James Corner, Lisa Tiziona, Nahyun Hwang, Sierra Bainbridge, Justine Heilner, Tom Jost, Danilo Martic, Tatiana von Preussen, Maura Rockcastle, Tom Ryan, Lara Shihab-Eldin, Heeyeun Yoon, Hong Zhou, Diller Scofidio + Renfro, Buro Happold, Robert Silman Associates, Piet Oudolf, L’Observatoire International, Bovis Lend Lease, LiRo/Daniel Frankfurt, Helen Neuhaus & Associates
THE HIGH LINE
2004-2009
Videos
Location: De Gansevoort street a 30th street, Manhattan, Nueva York, NY, EE.UU.
Size: 1.2 miles long, 6 acres, 19 blocks
Client: The City of New York
NYC Department of Parks & Recreation
Office of the Deputy Mayor for Economic Development
NYC Economic Development Corporation
NYC Department of City Planning
Friends of the High Line
Field Operations won the 2004 international competition for the High Line, a 1.2-mile long, abandoned elevated railway on the west side of Manhattan. The design strikes a delicate balance between total preservation and total transformation; creating a new landscape marked by slowness, distraction and an other-worldliness that preserves the strange, wild innate character of the High Line, yet doesn’t underestimate its intended use and popularity as a new public space. This notion underpins the overall strategy – a system of material organization that allows for varying ratios of hard to soft surface that transition from high use areas (100% hard) to richly vegetated biotopes (100% soft), with a variety of experiential gradients in between.
Juan E. Correa
RED SMOKE
2008-2009
Sculpture, installation
The intervention proposed by Juan E. Correa is marked by a fabric of fluctuating densities. It is exclusively ruled by laws of relationships of continuity and density with the power to propagate themselves. It uses air as a space and as a modeller of form, without having to be submitted to rational or static responses. Density understood as the absorption of the light of a transparent medium revealing space. With those premises, the installation maintains the status of an “open form,” unstable although recognisable in time; defined although potentially lacking in limits.
The impulse is established by filaments trapping the time limits of experience because, contrary to what happens with the methodical development of the fabric, it defines a rhythm, a pulsation determining the intrusion of time into the experience.