Estepa is a small town 110km east of Seville (Spain). It is in the centre of Andalusia and well connected to Seville or Malaga, by the A-92 highway or its branches.
The project began by carrying out an extensive analysis of the area which identifies the flow of traffic and its connections with the A-92 highway. The avenue where we are located in, a major road axis that still maintains the character of the old main street that was, connects with the highway in two important intersections on the west and on the northeast sides of the town.
The project arises from an emergency situation: a town hall execution order requires new owners of this 19th century home to intervene on it immediately to repair the pathologies detected by the technical inspection carried out some years before. The urgency and the limited budget conditioned the mode of intervention: the owners decided to start the work themselves. They demolished partitions, removed suspended ceiling and claddings walls, to get to know what the house could hide. In the process in which they move blindly, where to erase is needed more than to draw and where the project goes and comes back, they go slowly discovering latent house that was hidden, veiled under the guise of partitions, mortars and plasters. Along the way, they decide to remove damaged parts, recover blind holes which existed in another time and to give up surface in exchange for volume. They also opt to retain those rediscovered elements that narrate the history of that place assuming that time also builds. During the two-year renovation process, the needs of its owners change.
The project was built in an area of residential expansion in the outer suburb of Seville, in the south of Spain.
The small size of the plot and the high housing density that was required suggested a court-type solution. The patio played a key role as an area for social interaction and made it possible to achieve the objective of giving the 46 apartments (2 or 3 bedrooms) two prospects – on the inner courtyard and on the street.
The intervention interprets the building where is inserted, an old convent, as a context in constant transformation over time.
The project arises from a reflection around the creation process in contemporary art, its unpredictable condition and the current dissolution of limits between the space of production and exhibition. We can recognize that much of contemporary art expression understands the architectural space as a matter of work (we remember Shibboleth by Doris Salcedo breaking the floor of the Tate Modern in London in 2007, High Plane V by Katterin Sigurdardottir occupying the false ceiling of the PS1 in New York or Esto no es un graffiti where artists demolished some facings of walls in the same place of our project). We think the contemporary exhibition space shouldn’t be projected like a static room in time but like a never ending space in ellipsis, waiting for each exhibition come for completing it.
The project is a supporting building for expanding sports facilities located in Island of Cartuja. The new facility, designed to accommodate new changing rooms, gym, cafeteria, restaurant and social club, aims to organize and characterize the whole complex, as a hinge element between the different programs of the complex. The result is an elongated prism from which a body emerges pointing to the Olympic Stadium and rugby fields, generating an enclosed garden that provides orientation. This space, that the cafeteria and the gym overlook on the ground floor, is destined to become a social scene, a meeting point for athletes and visitors.
Our building is located in a plot at the entrance of the town, bordering the landscape of the mountains in the north of the province of Seville and a great visual presence from all areas due to the elevated streets that climb the hill in the southwest area. In this terrain, with a topographic ascension to the north, were gardens with plenty of plants and trees. The proposed organization meets these topographic conditions, the characteristic landscape of the surrounding mountains, the need to maintain the image of the gardens, and the best east-west orientation to the longitudinal axis of the main pool.
Article source: ARQUITECTOS HOMBRE DE PIEDRA & buró4
The Port of Seville needed a new Cruise Ship Terminal with a flexible character, multipurpose, extendable, easily removable and even movable. This would permit to accomodate the unpredictable number of passengers in the port and it would not limit the possibilities of the urban-port valuable space of the Muelle de las Delicias. Re-using shipping containers was proposed. On the other hand, the place, near the historic centre, was claiming an object of architectural quality to dialogue with its urban environment.
Design Team: Juan Manuel Rojas Fernández, Jesús Díaz Gómez , José Luis Sainz-Pardo Prieto-Castro, Ramón de los Santos Cuevas Rebollo, Jorge Ferral Sevilla, Laura Domínguez Hernández, Francisco Javier Carmona Stamatis Zografos , Cristiano Rossi, Angelene Clarke
Structural engineering: Same as architects
Construction supervision: Same as architects
Quantity Surveyor: Manuel J. Cansino Conejero
Client: Seville Port Authority
Built area: 508 m2 (gross)
Cost: 225.210 € 443 €/m2
Design phase (beginning and ending month, year): January 2013- March 2013
Construction phase (beginning and ending month, year): March 2013 – April 2013 (45 days: 30 days in the industry and 15 days on-site)
On the outskirts of Seville abound open residential blocks. These are called polygons, where H-blocks and interstitial spaces without identity proliferate. In the 60s and 70s, with the pressing need for housing for the new population coming in from the countryside, the creation of recognizable urban spaces between the blocks was not on the agenda of the designers. The blocks were repeated indifferently, sometimes parallel, sometimes terraced, sometimes diagonal, neglecting the intermediate void.
In no Man’s Land, in an aggressive environment surrounded by heavy traffic, heavy industry, along a poor neighborhood on an old slag lies the plot of the school. There is a gap of almost four meters that will be used to protect the building from the noise of the highway A-92, providing adequate protection in addition to parents and students during the hours of entry and exit to the centre, keeping a safe distance from the busy roads surrounding the site.
Article source: Javier Terrados Architecture Studio
The always uncertain destiny of Andalusian industry has provided the old Hytasa company installations at Arahal with an honorable continuity in time. This large industrial enclave, triangle-shaped and next to the railway station, will be transformed into a civic citadel that will hold several cultural and sport facilities.