Cartagena de las Indias is a city defined by the wondrous physical coupling of Nature and History. We have imagined an airport that fosters links with both elements.
El “B” is this long construction, a body, that feeds on the heritage -the continuity- of a site’s treatment: THE Cartagena harbour, which is nothing but a harbour in Cartagena, borderline of the city from the sea.
A very pleasant walk can be designed for the city along this strip, a daily procession following the immutable edge. In fact, this promenade is what we encourage; it is what we insert in the building, in a dimensional continuum that seems to dig out an artificial beach, but is actually a continuity of history, because the old El Batel beach was right here, on this very spot. The harbour is artificial, not the beach. This reclaimed beach-ramp gradually submerges us below the waterline, with the pier’s horizontal line as a constant reference. At this point we cease to belong to the outside world and start to belong to ourselves, ourselves in movement, ourselves strolling, working on the 210 metre scale reserved site for ourselves.
Head Architects: José Selgas (Madrid 1965), Lucía Cano (Madrid 1965)
Assistant Architects: Lara Resco, Carlos Chacón, José de Villar, José Jaráiz, Lorena del Río, Blas Antón, Miguel San Millán, Julián Fernández, Beatriz Quintana, Jaehoon Yook, Jeongwoo Choi, Laura Culiáñez, Bárbara Bardín
Surveyors: Antonio Marmol, Joaquín Cárceles, Raúl Jiménez
CANANA L.A is a young couple who have launched a company dedicated to the production, bottling and sale of different kinds of beer.
CANANA is located in La Aljorra, L.A., a small village in the south-east of Spain, which can be reached by roads with echoes of Los Angeles, surrounded by a landscape which resembles its palms with the hills of Santa Monica in the distance.
Based in Cartagena, Valparaiso Chile, the project is located in a subdivision area, small plots and home built by their owners. The exact site is a parcel of land of approximately 10 x 20 meters, with a gradient of approximately 15% that runs along the lots from east to west.
This school, designed for Pies Descalzos Foundation is located on the top of Loma delPeye Mountain within the city of Cartagena de Indias, Colombia. More than an educational building, the project seeks to provoke the consolidation of the neighborhood and improve the life of residents by generating alternatives for personal and community development as well as an environmental transformation of the area. The project has already become an architectural and urban landmark and an object of pride for the community.
The commission of the Mortuary project starts with the location and management of a plot to raise the building. The property, an insurances company of local and regional scope, wanted to strengthen its customer base with this kind of facility in the area in which it concentrates his operations: the North of Cartagena, between the towns of ‘La Palma’ and ‘Pozo Estrecho’, in the surroundings of the Field of Cartagena and the ‘Mar Menor’ sea.
El “B” is this long construction, a body, that feeds on the heritage -the continuity- of a site’s treatment: THE Cartagena harbour, which is nothing but a harbour in Cartagena, borderline of the city from the sea. Everything here belongs to it, belongs to the port, any port we should say: the immaculate straightness of the pier edge (straight), the invariably calm sea (flat), the artificially horizontal plane of the dock (flat), the sky as the variable background for this plane (plane on a plane?), all based on an artifice to represent the simplest -and by virtue of its simplicity, the most natural, the most immensely artificial- plane that equates to the most natural.
The building is essentially a cover protecting the remains of a Roman assembly (thermal baths, forum and domus) in the archaeological site of Molinete Park in Cartagena, Spain.
This cover is certainly another piece in the historic area of Cartagena whose main architectural challenge is to reconcile very different architectures; from the roman time, passing through baroque to nowadays, making all the interventions vibrate together in the neighborhood. It is a transition element, between very diverse urban conditions: in size, material and structure; from the dense city centre to the sloping park.