estudio fi
Index
David Esparza, Andrés Berjón, Diego Rodríguez, Alejandro Martínez, Lucía Liendo
Team
Francisco Plata
David Esparza
Omar Gómez
Abrahán Rodríguez
3600
Team
Francisco Plata
David Esparza
Omar Gómez
Abrahán Rodríguez
3600
Team
Francisco Plata
David Esparza
Omar Gómez
Abrahán Rodríguez
3600
Index
Team
Rodrigo
Francisco Plata
David Esparza
Carlos
Margarito
Fotgrafía
Paulo
Norma
Susana
Ingenieria Estructural
Paco, RobertoPaco
Roberto
Iluminación
Victor, PamelaVictor
Pamela
100 m²
Index
Team
David Esparza
Taller 360
Rodrigo
Carlos
Margarito
Fotgrafía
Paulo
Norma
Susana
Ingenieria Estructural
Paco, RobertoPaco
Roberto
Iluminación
Victor, PamelaVictor
Pamela
2,000 m ²
Index
Cementos Fortaleza is a young company. Its operations began by reusing the old Lafarge Cementos factory in Tula, Hidalgo. A work built at the beginning of the 2000`s, which seems not very old, but in terms of technological advancement and operation of a plant, it is a lot.
The initial brief was to build a new Remote Control Room that could operate the entire refurbished plant from a new location and would be built on top of the existing office building.
The Control Room is designed as a metal structure that rests slightly on the roof of the building, taking the north-west corner and taking advantage of its height to also be a viewpoint that allows operators to go out to a terrace, which also functions as shade to the west, to check visually and auditorily the correct operation of the two production lines of the plant.
The metal structure is light, versatile, quick to build and allows the building to be erected without interrupting the dynamics of the main office building.
A reinforced concrete foundation was built that is linked to the existing slab precisely in its construction axes, thus using the original structural modulation of the building. On this foundation, a first metal frame was built that works as a recordable floor between the building and the control room, and from there the metal columns formed by four angles and linked by cross slabs are raised. These columns allow to house prefabricated fiber cement panels and on them, noise insulating panels.
The roof is a structure tilted to the south to receive solar panels and take advantage of the location, height and sunlight. It is built with an open core and structural PTR supporting a corrugated sheet, also made of fiber cement. To the south, a metallic mullion fulfills the double function of shade and at the corridor roof level that allows maintenance of solar panels in compliance with industry safety standards.
The use of all apparent materials and expressing their nature, in addition to being an optimal way of building, made it possible to make the building a complete sample of all the business arms of the company that embraces Cementos Fortaleza, Elementia - Orbia. The same group produces asbestos-cement panels, corrugated sheets, copper tubes, electrical tubes, and other parts. The commission sought to be able to show the wide range of different lines of business for industrial work of the same company.
During the construction of the Control Room, observing the optimization of time and resources, they asked us for more projects that would echo this proposal and that would complement the resurgence of the plant in Tula.
One more Control Room was built for the cement packaging machine with a gabled roof that allows cleaning and prevents the accumulation of very fine cement dust; we completely remodeled the office building providing it with natural light with openings in the existing slabs and saw teeth to the north; we build dining rooms, booths and different small connecting buildings. We designed to build in a next stage a recreation building for drivers with parking, dining room, bathrooms, dressing rooms and control offices.
Lastly, to provide friendly spaces for users and operators of the Plant, we built a Shadow Square that vestibules the Office Building and connects the entire Plant with the first building, the main Remote Control Room. We were interested in being able to provide meeting places that would allow the enjoyment of everyday life in an industrial environment that is usually arid and hostile, turning it into friendly and humane spaces.
Team
Fernando Ituarte Verduzco Fernando Ituarte Ortega René Cervera Valdez David Adrián Esparza Aguilera Francisco Plata Ortega Hain Gerardo Mata Rodríguez Omar Alejandro Gómez Carbaja
200 m2
Cementos Fortaleza is a young company. Its operations began by reusing the old Lafarge Cementos factory in Tula, Hidalgo. A work built at the beginning of the 2000`s, which seems not very old, but in terms of technological advancement and operation of a plant, it is a lot.
The initial brief was to build a new Remote Control Room that could operate the entire refurbished plant from a new location and would be built on top of the existing office building.
The Control Room is designed as a metal structure that rests slightly on the roof of the building, taking the north-west corner and taking advantage of its height to also be a viewpoint that allows operators to go out to a terrace, which also functions as shade to the west, to check visually and auditorily the correct operation of the two production lines of the plant.
The metal structure is light, versatile, quick to build and allows the building to be erected without interrupting the dynamics of the main office building.
A reinforced concrete foundation was built that is linked to the existing slab precisely in its construction axes, thus using the original structural modulation of the building. On this foundation, a first metal frame was built that works as a recordable floor between the building and the control room, and from there the metal columns formed by four angles and linked by cross slabs are raised. These columns allow to house prefabricated fiber cement panels and on them, noise insulating panels.
The roof is a structure tilted to the south to receive solar panels and take advantage of the location, height and sunlight. It is built with an open core and structural PTR supporting a corrugated sheet, also made of fiber cement. To the south, a metallic mullion fulfills the double function of shade and at the corridor roof level that allows maintenance of solar panels in compliance with industry safety standards.
The use of all apparent materials and expressing their nature, in addition to being an optimal way of building, made it possible to make the building a complete sample of all the business arms of the company that embraces Cementos Fortaleza, Elementia - Orbia. The same group produces asbestos-cement panels, corrugated sheets, copper tubes, electrical tubes, and other parts. The commission sought to be able to show the wide range of different lines of business for industrial work of the same company.
During the construction of the Control Room, observing the optimization of time and resources, they asked us for more projects that would echo this proposal and that would complement the resurgence of the plant in Tula.
One more Control Room was built for the cement packaging machine with a gabled roof that allows cleaning and prevents the accumulation of very fine cement dust; we completely remodeled the office building providing it with natural light with openings in the existing slabs and saw teeth to the north; we build dining rooms, booths and different small connecting buildings. We designed to build in a next stage a recreation building for drivers with parking, dining room, bathrooms, dressing rooms and control offices.
Lastly, to provide friendly spaces for users and operators of the Plant, we built a Shadow Square that vestibules the Office Building and connects the entire Plant with the first building, the main Remote Control Room. We were interested in being able to provide meeting places that would allow the enjoyment of everyday life in an industrial environment that is usually arid and hostile, turning it into friendly and humane spaces.
Team
Fernando Ituarte Verduzco Fernando Ituarte Ortega René Cervera Valdez David Adrián Esparza Aguilera Francisco Plata Ortega Hain Gerardo Mata Rodríguez Omar Alejandro Gómez Carbaja
200 m2
Cementos Fortaleza is a young company. Its operations began by reusing the old Lafarge Cementos factory in Tula, Hidalgo. A work built at the beginning of the 2000`s, which seems not very old, but in terms of technological advancement and operation of a plant, it is a lot.
The initial brief was to build a new Remote Control Room that could operate the entire refurbished plant from a new location and would be built on top of the existing office building.
The Control Room is designed as a metal structure that rests slightly on the roof of the building, taking the north-west corner and taking advantage of its height to also be a viewpoint that allows operators to go out to a terrace, which also functions as shade to the west, to check visually and auditorily the correct operation of the two production lines of the plant.
The metal structure is light, versatile, quick to build and allows the building to be erected without interrupting the dynamics of the main office building.
A reinforced concrete foundation was built that is linked to the existing slab precisely in its construction axes, thus using the original structural modulation of the building. On this foundation, a first metal frame was built that works as a recordable floor between the building and the control room, and from there the metal columns formed by four angles and linked by cross slabs are raised. These columns allow to house prefabricated fiber cement panels and on them, noise insulating panels.
The roof is a structure tilted to the south to receive solar panels and take advantage of the location, height and sunlight. It is built with an open core and structural PTR supporting a corrugated sheet, also made of fiber cement. To the south, a metallic mullion fulfills the double function of shade and at the corridor roof level that allows maintenance of solar panels in compliance with industry safety standards.
The use of all apparent materials and expressing their nature, in addition to being an optimal way of building, made it possible to make the building a complete sample of all the business arms of the company that embraces Cementos Fortaleza, Elementia - Orbia. The same group produces asbestos-cement panels, corrugated sheets, copper tubes, electrical tubes, and other parts. The commission sought to be able to show the wide range of different lines of business for industrial work of the same company.
During the construction of the Control Room, observing the optimization of time and resources, they asked us for more projects that would echo this proposal and that would complement the resurgence of the plant in Tula.
One more Control Room was built for the cement packaging machine with a gabled roof that allows cleaning and prevents the accumulation of very fine cement dust; we completely remodeled the office building providing it with natural light with openings in the existing slabs and saw teeth to the north; we build dining rooms, booths and different small connecting buildings. We designed to build in a next stage a recreation building for drivers with parking, dining room, bathrooms, dressing rooms and control offices.
Lastly, to provide friendly spaces for users and operators of the Plant, we built a Shadow Square that vestibules the Office Building and connects the entire Plant with the first building, the main Remote Control Room. We were interested in being able to provide meeting places that would allow the enjoyment of everyday life in an industrial environment that is usually arid and hostile, turning it into friendly and humane spaces.
Team
Fernando Ituarte Verduzco Fernando Ituarte Ortega René Cervera Valdez David Adrián Esparza Aguilera Francisco Plata Ortega Hain Gerardo Mata Rodríguez Omar Alejandro Gómez Carbaja
200 m2
Cementos Fortaleza is a young company. Its operations began by reusing the old Lafarge Cementos factory in Tula, Hidalgo. A work built at the beginning of the 2000`s, which seems not very old, but in terms of technological advancement and operation of a plant, it is a lot.
The initial brief was to build a new Remote Control Room that could operate the entire refurbished plant from a new location and would be built on top of the existing office building.
The Control Room is designed as a metal structure that rests slightly on the roof of the building, taking the north-west corner and taking advantage of its height to also be a viewpoint that allows operators to go out to a terrace, which also functions as shade to the west, to check visually and auditorily the correct operation of the two production lines of the plant.
The metal structure is light, versatile, quick to build and allows the building to be erected without interrupting the dynamics of the main office building.
A reinforced concrete foundation was built that is linked to the existing slab precisely in its construction axes, thus using the original structural modulation of the building. On this foundation, a first metal frame was built that works as a recordable floor between the building and the control room, and from there the metal columns formed by four angles and linked by cross slabs are raised. These columns allow to house prefabricated fiber cement panels and on them, noise insulating panels.
The roof is a structure tilted to the south to receive solar panels and take advantage of the location, height and sunlight. It is built with an open core and structural PTR supporting a corrugated sheet, also made of fiber cement. To the south, a metallic mullion fulfills the double function of shade and at the corridor roof level that allows maintenance of solar panels in compliance with industry safety standards.
The use of all apparent materials and expressing their nature, in addition to being an optimal way of building, made it possible to make the building a complete sample of all the business arms of the company that embraces Cementos Fortaleza, Elementia - Orbia. The same group produces asbestos-cement panels, corrugated sheets, copper tubes, electrical tubes, and other parts. The commission sought to be able to show the wide range of different lines of business for industrial work of the same company.
During the construction of the Control Room, observing the optimization of time and resources, they asked us for more projects that would echo this proposal and that would complement the resurgence of the plant in Tula.
One more Control Room was built for the cement packaging machine with a gabled roof that allows cleaning and prevents the accumulation of very fine cement dust; we completely remodeled the office building providing it with natural light with openings in the existing slabs and saw teeth to the north; we build dining rooms, booths and different small connecting buildings. We designed to build in a next stage a recreation building for drivers with parking, dining room, bathrooms, dressing rooms and control offices.
Lastly, to provide friendly spaces for users and operators of the Plant, we built a Shadow Square that vestibules the Office Building and connects the entire Plant with the first building, the main Remote Control Room. We were interested in being able to provide meeting places that would allow the enjoyment of everyday life in an industrial environment that is usually arid and hostile, turning it into friendly and humane spaces.
Team
Fernando Ituarte Verduzco Fernando Ituarte Ortega René Cervera Valdez David Adrián Esparza Aguilera Francisco Plata Ortega Hain Gerardo Mata Rodríguez Omar Alejandro Gómez Carbaja
200 m2
Cementos Fortaleza is a young company. Its operations began by reusing the old Lafarge Cementos factory in Tula, Hidalgo. A work built at the beginning of the 2000`s, which seems not very old, but in terms of technological advancement and operation of a plant, it is a lot.
The initial brief was to build a new Remote Control Room that could operate the entire refurbished plant from a new location and would be built on top of the existing office building.
The Control Room is designed as a metal structure that rests slightly on the roof of the building, taking the north-west corner and taking advantage of its height to also be a viewpoint that allows operators to go out to a terrace, which also functions as shade to the west, to check visually and auditorily the correct operation of the two production lines of the plant.
The metal structure is light, versatile, quick to build and allows the building to be erected without interrupting the dynamics of the main office building.
A reinforced concrete foundation was built that is linked to the existing slab precisely in its construction axes, thus using the original structural modulation of the building. On this foundation, a first metal frame was built that works as a recordable floor between the building and the control room, and from there the metal columns formed by four angles and linked by cross slabs are raised. These columns allow to house prefabricated fiber cement panels and on them, noise insulating panels.
The roof is a structure tilted to the south to receive solar panels and take advantage of the location, height and sunlight. It is built with an open core and structural PTR supporting a corrugated sheet, also made of fiber cement. To the south, a metallic mullion fulfills the double function of shade and at the corridor roof level that allows maintenance of solar panels in compliance with industry safety standards.
The use of all apparent materials and expressing their nature, in addition to being an optimal way of building, made it possible to make the building a complete sample of all the business arms of the company that embraces Cementos Fortaleza, Elementia - Orbia. The same group produces asbestos-cement panels, corrugated sheets, copper tubes, electrical tubes, and other parts. The commission sought to be able to show the wide range of different lines of business for industrial work of the same company.
During the construction of the Control Room, observing the optimization of time and resources, they asked us for more projects that would echo this proposal and that would complement the resurgence of the plant in Tula.
One more Control Room was built for the cement packaging machine with a gabled roof that allows cleaning and prevents the accumulation of very fine cement dust; we completely remodeled the office building providing it with natural light with openings in the existing slabs and saw teeth to the north; we build dining rooms, booths and different small connecting buildings. We designed to build in a next stage a recreation building for drivers with parking, dining room, bathrooms, dressing rooms and control offices.
Lastly, to provide friendly spaces for users and operators of the Plant, we built a Shadow Square that vestibules the Office Building and connects the entire Plant with the first building, the main Remote Control Room. We were interested in being able to provide meeting places that would allow the enjoyment of everyday life in an industrial environment that is usually arid and hostile, turning it into friendly and humane spaces.
Team
Fernando Ituarte Verduzco Fernando Ituarte Ortega René Cervera Valdez David Adrián Esparza Aguilera Francisco Plata Ortega Hain Gerardo Mata Rodríguez Omar Alejandro Gómez Carbaja
200 m2
Cementos Fortaleza is a young company. Its operations began by reusing the old Lafarge Cementos factory in Tula, Hidalgo. A work built at the beginning of the 2000`s, which seems not very old, but in terms of technological advancement and operation of a plant, it is a lot.
The initial brief was to build a new Remote Control Room that could operate the entire refurbished plant from a new location and would be built on top of the existing office building.
The Control Room is designed as a metal structure that rests slightly on the roof of the building, taking the north-west corner and taking advantage of its height to also be a viewpoint that allows operators to go out to a terrace, which also functions as shade to the west, to check visually and auditorily the correct operation of the two production lines of the plant.
The metal structure is light, versatile, quick to build and allows the building to be erected without interrupting the dynamics of the main office building.
A reinforced concrete foundation was built that is linked to the existing slab precisely in its construction axes, thus using the original structural modulation of the building. On this foundation, a first metal frame was built that works as a recordable floor between the building and the control room, and from there the metal columns formed by four angles and linked by cross slabs are raised. These columns allow to house prefabricated fiber cement panels and on them, noise insulating panels.
The roof is a structure tilted to the south to receive solar panels and take advantage of the location, height and sunlight. It is built with an open core and structural PTR supporting a corrugated sheet, also made of fiber cement. To the south, a metallic mullion fulfills the double function of shade and at the corridor roof level that allows maintenance of solar panels in compliance with industry safety standards.
The use of all apparent materials and expressing their nature, in addition to being an optimal way of building, made it possible to make the building a complete sample of all the business arms of the company that embraces Cementos Fortaleza, Elementia - Orbia. The same group produces asbestos-cement panels, corrugated sheets, copper tubes, electrical tubes, and other parts. The commission sought to be able to show the wide range of different lines of business for industrial work of the same company.
During the construction of the Control Room, observing the optimization of time and resources, they asked us for more projects that would echo this proposal and that would complement the resurgence of the plant in Tula.
One more Control Room was built for the cement packaging machine with a gabled roof that allows cleaning and prevents the accumulation of very fine cement dust; we completely remodeled the office building providing it with natural light with openings in the existing slabs and saw teeth to the north; we build dining rooms, booths and different small connecting buildings. We designed to build in a next stage a recreation building for drivers with parking, dining room, bathrooms, dressing rooms and control offices.
Lastly, to provide friendly spaces for users and operators of the Plant, we built a Shadow Square that vestibules the Office Building and connects the entire Plant with the first building, the main Remote Control Room. We were interested in being able to provide meeting places that would allow the enjoyment of everyday life in an industrial environment that is usually arid and hostile, turning it into friendly and humane spaces.
Team
Fernando Ituarte Verduzco Fernando Ituarte Ortega René Cervera Valdez David Adrián Esparza Aguilera Francisco Plata Ortega Hain Gerardo Mata Rodríguez Omar Alejandro Gómez Carbaja
200 m2
Cementos Fortaleza is a young company. Its operations began by reusing the old Lafarge Cementos factory in Tula, Hidalgo. A work built at the beginning of the 2000`s, which seems not very old, but in terms of technological advancement and operation of a plant, it is a lot.
The initial brief was to build a new Remote Control Room that could operate the entire refurbished plant from a new location and would be built on top of the existing office building.
The Control Room is designed as a metal structure that rests slightly on the roof of the building, taking the north-west corner and taking advantage of its height to also be a viewpoint that allows operators to go out to a terrace, which also functions as shade to the west, to check visually and auditorily the correct operation of the two production lines of the plant.
The metal structure is light, versatile, quick to build and allows the building to be erected without interrupting the dynamics of the main office building.
A reinforced concrete foundation was built that is linked to the existing slab precisely in its construction axes, thus using the original structural modulation of the building. On this foundation, a first metal frame was built that works as a recordable floor between the building and the control room, and from there the metal columns formed by four angles and linked by cross slabs are raised. These columns allow to house prefabricated fiber cement panels and on them, noise insulating panels.
The roof is a structure tilted to the south to receive solar panels and take advantage of the location, height and sunlight. It is built with an open core and structural PTR supporting a corrugated sheet, also made of fiber cement. To the south, a metallic mullion fulfills the double function of shade and at the corridor roof level that allows maintenance of solar panels in compliance with industry safety standards.
The use of all apparent materials and expressing their nature, in addition to being an optimal way of building, made it possible to make the building a complete sample of all the business arms of the company that embraces Cementos Fortaleza, Elementia - Orbia. The same group produces asbestos-cement panels, corrugated sheets, copper tubes, electrical tubes, and other parts. The commission sought to be able to show the wide range of different lines of business for industrial work of the same company.
During the construction of the Control Room, observing the optimization of time and resources, they asked us for more projects that would echo this proposal and that would complement the resurgence of the plant in Tula.
One more Control Room was built for the cement packaging machine with a gabled roof that allows cleaning and prevents the accumulation of very fine cement dust; we completely remodeled the office building providing it with natural light with openings in the existing slabs and saw teeth to the north; we build dining rooms, booths and different small connecting buildings. We designed to build in a next stage a recreation building for drivers with parking, dining room, bathrooms, dressing rooms and control offices.
Lastly, to provide friendly spaces for users and operators of the Plant, we built a Shadow Square that vestibules the Office Building and connects the entire Plant with the first building, the main Remote Control Room. We were interested in being able to provide meeting places that would allow the enjoyment of everyday life in an industrial environment that is usually arid and hostile, turning it into friendly and humane spaces.
Team
Fernando Ituarte Verduzco Fernando Ituarte Ortega René Cervera Valdez David Adrián Esparza Aguilera Francisco Plata Ortega Hain Gerardo Mata Rodríguez Omar Alejandro Gómez Carbaja
200 m2
Index
En el marco del Programa de Mejoramiento Urbano y del Programa Nacional de Reconstrucción, el proyecto de “Unidad Polideportiva”, ubicado en el municipio de Cunduacán, en Tabasco, se suma a la serie de proyectos estratégicos de mejoramiento urbano, rescate de espacios públicos y dotación de infraestructura básica para zonas marginadas, desarrollados en la en la Etapa D.
La Unidad Polideportiva es un espacio conformado por un conjunto de instalaciones deportivas a cubierto y descubierto, destinadas principalmente a la práctica organizada del deporte y a la realización de competencias deportivas; así como el esparcimiento en espacios acondicionados ex profeso para los niños. La unidad está conformada por canchas, gimnasios al aire libre, ciclopistas y juegos infantiles, así como: accesos, administración, servicios, medicina deportiva, cafetería, almacén y mantenimiento, plaza cívica, estacionamiento y áreas verdes y libres.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Iluminación
Martín Leal Ruiz
60,000 m²
En el marco del Programa de Mejoramiento Urbano y del Programa Nacional de Reconstrucción, el proyecto de “Unidad Polideportiva”, ubicado en el municipio de Cunduacán, en Tabasco, se suma a la serie de proyectos estratégicos de mejoramiento urbano, rescate de espacios públicos y dotación de infraestructura básica para zonas marginadas, desarrollados en la en la Etapa D.
La Unidad Polideportiva es un espacio conformado por un conjunto de instalaciones deportivas a cubierto y descubierto, destinadas principalmente a la práctica organizada del deporte y a la realización de competencias deportivas; así como el esparcimiento en espacios acondicionados ex profeso para los niños. La unidad está conformada por canchas, gimnasios al aire libre, ciclopistas y juegos infantiles, así como: accesos, administración, servicios, medicina deportiva, cafetería, almacén y mantenimiento, plaza cívica, estacionamiento y áreas verdes y libres.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Iluminación
Martín Leal Ruiz
60,000 m²
En el marco del Programa de Mejoramiento Urbano y del Programa Nacional de Reconstrucción, el proyecto de “Unidad Polideportiva”, ubicado en el municipio de Cunduacán, en Tabasco, se suma a la serie de proyectos estratégicos de mejoramiento urbano, rescate de espacios públicos y dotación de infraestructura básica para zonas marginadas, desarrollados en la en la Etapa D.
La Unidad Polideportiva es un espacio conformado por un conjunto de instalaciones deportivas a cubierto y descubierto, destinadas principalmente a la práctica organizada del deporte y a la realización de competencias deportivas; así como el esparcimiento en espacios acondicionados ex profeso para los niños. La unidad está conformada por canchas, gimnasios al aire libre, ciclopistas y juegos infantiles, así como: accesos, administración, servicios, medicina deportiva, cafetería, almacén y mantenimiento, plaza cívica, estacionamiento y áreas verdes y libres.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Iluminación
Martín Leal Ruiz
60,000 m²
En el marco del Programa de Mejoramiento Urbano y del Programa Nacional de Reconstrucción, el proyecto de “Unidad Polideportiva”, ubicado en el municipio de Cunduacán, en Tabasco, se suma a la serie de proyectos estratégicos de mejoramiento urbano, rescate de espacios públicos y dotación de infraestructura básica para zonas marginadas, desarrollados en la en la Etapa D.
La Unidad Polideportiva es un espacio conformado por un conjunto de instalaciones deportivas a cubierto y descubierto, destinadas principalmente a la práctica organizada del deporte y a la realización de competencias deportivas; así como el esparcimiento en espacios acondicionados ex profeso para los niños. La unidad está conformada por canchas, gimnasios al aire libre, ciclopistas y juegos infantiles, así como: accesos, administración, servicios, medicina deportiva, cafetería, almacén y mantenimiento, plaza cívica, estacionamiento y áreas verdes y libres.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Iluminación
Martín Leal Ruiz
60,000 m²
Index
Team
Diego Rodríguez
Andrés Berjón
Pedro Ceñal
Taller Mauricio Rocha
David Esparza
42,000 m²
Index
Within the framework of the Urban Improvement Program and the National Reconstruction Program, the "Construction of Public Market and Maneuver Yard" project, located in the municipality of Cunduacán, in Tabasco, joins the series of strategic urban improvement projects , rescue of public spaces and provision of basic infrastructure for marginalized areas, developed in Stage D.
The public market is an element of the commercial equipment, structured based on the organization of small merchants that provide the final consumer with the retail supply of food products, personal use and household items. As an important part of the commercial distribution chain, it is fundamentally oriented towards satisfying the needs of the population from the middle and lower strata.
The "Manuel Sánchez Marble" market in the city of Cunduacán does not have enough space to locate the current demand for commerce, in addition its surrounding sidewalks and those that adjoin the baseball field are saturated with informal itinerant commerce. The surrounding streets, on the other hand, are often congested because there are not enough bus stops to absorb the flow of public transport in the area. The proposal must provide space for merchants to formalize their work and continue selling in an orderly manner, as well as new vehicular traffic that frees up the streets.
With the project: PCA-27006EP001 "Construction of Public Market and Maneuver Yard" it seeks to provide the population of Cunduacán with new equipment, in which they access food provision services, safely and cleanly. Within the maneuvering yard, it is intended to provide the city with parking and ascent and descent areas that redirect vehicular flows.
The project addresses, among others, the following variables: gender equity and safety, while equal opportunities are considered for the use of the equipment, with the inclusion of spacious, well-lit environments that allow free access for all people to the different services. transportation and access to food and supplies. In addition, the economic benefit is favored from local tourism and commerce, along with complementary services and cultural events that could take place in this sector.
By renewing and expanding the offer of popular commerce, the project favors the integration of the urban population with the inhabitants of the rural sector, with special interest in the indigenous peoples, in renewed spaces within the city.
Through open and permeable facades, and internal patios that allow the market to be illuminated and ventilated, the architecture of the project responds to the conditions of hot-humid climate with abundant rains in summer, typical of Cunduacán; In addition, using brick from the region, it reactivates the economic activity of the municipality and promotes the use of economical materials with high durability and low maintenance, thus generating the least environmental impact.
Outside, the project integrates and connects with the existing equipment through a large square, which is articulated with the Bus Station, the old market and the Municipal Center. The inclusion of trees and low vegetation in it will provide the Public Market and the Bus Station with green areas and shaded areas that will allow greater public recreational and leisure use among the inhabitants of Cunduacán and will promote a position against climate change favor of environmental conservation.
The 12,400 m2 property is located in the center of the city of Cunduacán, where some of the most important facilities are concentrated. Nearby are the City Hall, the José Eduardo de Cárdenas central park and the Cunduacán General Hospital. The property is located next to the Central Trucking Cunduacán and
Rosendo Taracena Padrón Primary School. Therefore, in its surroundings there are many wholesale and retail stores, supermarkets, shopping malls, bank branches, churches, among others.
The land is an irregular polygon, facing Illustrious Men Street to the east, av. Fidencia Fernández Sastre to the south and Calle Sin Nombre to the north. To the southwest of the property there are residential buildings, while to the north, it adjoins the Cunduacán bus station. The block that is in the opposite corner, to the northeast of the property, contains the "Manuel Sánchez Marble" market, its commercial use will be extended to the property to be renovated, constructing a new building there to locate a second market and relocating the baseball field in the set of the Sports Unit. The project must take into account the boundaries and make use of the street that connects with the existing market and the plaza of the Municipality Center to articulate the interventions within this area.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal Murga
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Diseño de mobiliario:
Pedro Zuñiga
Iluminación
Martín Leal Ruiz
11,500 m²
Within the framework of the Urban Improvement Program and the National Reconstruction Program, the "Construction of Public Market and Maneuver Yard" project, located in the municipality of Cunduacán, in Tabasco, joins the series of strategic urban improvement projects , rescue of public spaces and provision of basic infrastructure for marginalized areas, developed in Stage D.
The public market is an element of the commercial equipment, structured based on the organization of small merchants that provide the final consumer with the retail supply of food products, personal use and household items. As an important part of the commercial distribution chain, it is fundamentally oriented towards satisfying the needs of the population from the middle and lower strata.
The "Manuel Sánchez Marble" market in the city of Cunduacán does not have enough space to locate the current demand for commerce, in addition its surrounding sidewalks and those that adjoin the baseball field are saturated with informal itinerant commerce. The surrounding streets, on the other hand, are often congested because there are not enough bus stops to absorb the flow of public transport in the area. The proposal must provide space for merchants to formalize their work and continue selling in an orderly manner, as well as new vehicular traffic that frees up the streets.
With the project: PCA-27006EP001 "Construction of Public Market and Maneuver Yard" it seeks to provide the population of Cunduacán with new equipment, in which they access food provision services, safely and cleanly. Within the maneuvering yard, it is intended to provide the city with parking and ascent and descent areas that redirect vehicular flows.
The project addresses, among others, the following variables: gender equity and safety, while equal opportunities are considered for the use of the equipment, with the inclusion of spacious, well-lit environments that allow free access for all people to the different services. transportation and access to food and supplies. In addition, the economic benefit is favored from local tourism and commerce, along with complementary services and cultural events that could take place in this sector.
By renewing and expanding the offer of popular commerce, the project favors the integration of the urban population with the inhabitants of the rural sector, with special interest in the indigenous peoples, in renewed spaces within the city.
Through open and permeable facades, and internal patios that allow the market to be illuminated and ventilated, the architecture of the project responds to the conditions of hot-humid climate with abundant rains in summer, typical of Cunduacán; In addition, using brick from the region, it reactivates the economic activity of the municipality and promotes the use of economical materials with high durability and low maintenance, thus generating the least environmental impact.
Outside, the project integrates and connects with the existing equipment through a large square, which is articulated with the Bus Station, the old market and the Municipal Center. The inclusion of trees and low vegetation in it will provide the Public Market and the Bus Station with green areas and shaded areas that will allow greater public recreational and leisure use among the inhabitants of Cunduacán and will promote a position against climate change favor of environmental conservation.
The 12,400 m2 property is located in the center of the city of Cunduacán, where some of the most important facilities are concentrated. Nearby are the City Hall, the José Eduardo de Cárdenas central park and the Cunduacán General Hospital. The property is located next to the Central Trucking Cunduacán and
Rosendo Taracena Padrón Primary School. Therefore, in its surroundings there are many wholesale and retail stores, supermarkets, shopping malls, bank branches, churches, among others.
The land is an irregular polygon, facing Illustrious Men Street to the east, av. Fidencia Fernández Sastre to the south and Calle Sin Nombre to the north. To the southwest of the property there are residential buildings, while to the north, it adjoins the Cunduacán bus station. The block that is in the opposite corner, to the northeast of the property, contains the "Manuel Sánchez Marble" market, its commercial use will be extended to the property to be renovated, constructing a new building there to locate a second market and relocating the baseball field in the set of the Sports Unit. The project must take into account the boundaries and make use of the street that connects with the existing market and the plaza of the Municipality Center to articulate the interventions within this area.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal Murga
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Diseño de mobiliario:
Pedro Zuñiga
Iluminación
Martín Leal Ruiz
11,500 m²
Within the framework of the Urban Improvement Program and the National Reconstruction Program, the "Construction of Public Market and Maneuver Yard" project, located in the municipality of Cunduacán, in Tabasco, joins the series of strategic urban improvement projects , rescue of public spaces and provision of basic infrastructure for marginalized areas, developed in Stage D.
The public market is an element of the commercial equipment, structured based on the organization of small merchants that provide the final consumer with the retail supply of food products, personal use and household items. As an important part of the commercial distribution chain, it is fundamentally oriented towards satisfying the needs of the population from the middle and lower strata.
The "Manuel Sánchez Marble" market in the city of Cunduacán does not have enough space to locate the current demand for commerce, in addition its surrounding sidewalks and those that adjoin the baseball field are saturated with informal itinerant commerce. The surrounding streets, on the other hand, are often congested because there are not enough bus stops to absorb the flow of public transport in the area. The proposal must provide space for merchants to formalize their work and continue selling in an orderly manner, as well as new vehicular traffic that frees up the streets.
With the project: PCA-27006EP001 "Construction of Public Market and Maneuver Yard" it seeks to provide the population of Cunduacán with new equipment, in which they access food provision services, safely and cleanly. Within the maneuvering yard, it is intended to provide the city with parking and ascent and descent areas that redirect vehicular flows.
The project addresses, among others, the following variables: gender equity and safety, while equal opportunities are considered for the use of the equipment, with the inclusion of spacious, well-lit environments that allow free access for all people to the different services. transportation and access to food and supplies. In addition, the economic benefit is favored from local tourism and commerce, along with complementary services and cultural events that could take place in this sector.
By renewing and expanding the offer of popular commerce, the project favors the integration of the urban population with the inhabitants of the rural sector, with special interest in the indigenous peoples, in renewed spaces within the city.
Through open and permeable facades, and internal patios that allow the market to be illuminated and ventilated, the architecture of the project responds to the conditions of hot-humid climate with abundant rains in summer, typical of Cunduacán; In addition, using brick from the region, it reactivates the economic activity of the municipality and promotes the use of economical materials with high durability and low maintenance, thus generating the least environmental impact.
Outside, the project integrates and connects with the existing equipment through a large square, which is articulated with the Bus Station, the old market and the Municipal Center. The inclusion of trees and low vegetation in it will provide the Public Market and the Bus Station with green areas and shaded areas that will allow greater public recreational and leisure use among the inhabitants of Cunduacán and will promote a position against climate change favor of environmental conservation.
The 12,400 m2 property is located in the center of the city of Cunduacán, where some of the most important facilities are concentrated. Nearby are the City Hall, the José Eduardo de Cárdenas central park and the Cunduacán General Hospital. The property is located next to the Central Trucking Cunduacán and
Rosendo Taracena Padrón Primary School. Therefore, in its surroundings there are many wholesale and retail stores, supermarkets, shopping malls, bank branches, churches, among others.
The land is an irregular polygon, facing Illustrious Men Street to the east, av. Fidencia Fernández Sastre to the south and Calle Sin Nombre to the north. To the southwest of the property there are residential buildings, while to the north, it adjoins the Cunduacán bus station. The block that is in the opposite corner, to the northeast of the property, contains the "Manuel Sánchez Marble" market, its commercial use will be extended to the property to be renovated, constructing a new building there to locate a second market and relocating the baseball field in the set of the Sports Unit. The project must take into account the boundaries and make use of the street that connects with the existing market and the plaza of the Municipality Center to articulate the interventions within this area.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal Murga
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Diseño de mobiliario:
Pedro Zuñiga
Iluminación
Martín Leal Ruiz
11,500 m²
Within the framework of the Urban Improvement Program and the National Reconstruction Program, the "Construction of Public Market and Maneuver Yard" project, located in the municipality of Cunduacán, in Tabasco, joins the series of strategic urban improvement projects , rescue of public spaces and provision of basic infrastructure for marginalized areas, developed in Stage D.
The public market is an element of the commercial equipment, structured based on the organization of small merchants that provide the final consumer with the retail supply of food products, personal use and household items. As an important part of the commercial distribution chain, it is fundamentally oriented towards satisfying the needs of the population from the middle and lower strata.
The "Manuel Sánchez Marble" market in the city of Cunduacán does not have enough space to locate the current demand for commerce, in addition its surrounding sidewalks and those that adjoin the baseball field are saturated with informal itinerant commerce. The surrounding streets, on the other hand, are often congested because there are not enough bus stops to absorb the flow of public transport in the area. The proposal must provide space for merchants to formalize their work and continue selling in an orderly manner, as well as new vehicular traffic that frees up the streets.
With the project: PCA-27006EP001 "Construction of Public Market and Maneuver Yard" it seeks to provide the population of Cunduacán with new equipment, in which they access food provision services, safely and cleanly. Within the maneuvering yard, it is intended to provide the city with parking and ascent and descent areas that redirect vehicular flows.
The project addresses, among others, the following variables: gender equity and safety, while equal opportunities are considered for the use of the equipment, with the inclusion of spacious, well-lit environments that allow free access for all people to the different services. transportation and access to food and supplies. In addition, the economic benefit is favored from local tourism and commerce, along with complementary services and cultural events that could take place in this sector.
By renewing and expanding the offer of popular commerce, the project favors the integration of the urban population with the inhabitants of the rural sector, with special interest in the indigenous peoples, in renewed spaces within the city.
Through open and permeable facades, and internal patios that allow the market to be illuminated and ventilated, the architecture of the project responds to the conditions of hot-humid climate with abundant rains in summer, typical of Cunduacán; In addition, using brick from the region, it reactivates the economic activity of the municipality and promotes the use of economical materials with high durability and low maintenance, thus generating the least environmental impact.
Outside, the project integrates and connects with the existing equipment through a large square, which is articulated with the Bus Station, the old market and the Municipal Center. The inclusion of trees and low vegetation in it will provide the Public Market and the Bus Station with green areas and shaded areas that will allow greater public recreational and leisure use among the inhabitants of Cunduacán and will promote a position against climate change favor of environmental conservation.
The 12,400 m2 property is located in the center of the city of Cunduacán, where some of the most important facilities are concentrated. Nearby are the City Hall, the José Eduardo de Cárdenas central park and the Cunduacán General Hospital. The property is located next to the Central Trucking Cunduacán and
Rosendo Taracena Padrón Primary School. Therefore, in its surroundings there are many wholesale and retail stores, supermarkets, shopping malls, bank branches, churches, among others.
The land is an irregular polygon, facing Illustrious Men Street to the east, av. Fidencia Fernández Sastre to the south and Calle Sin Nombre to the north. To the southwest of the property there are residential buildings, while to the north, it adjoins the Cunduacán bus station. The block that is in the opposite corner, to the northeast of the property, contains the "Manuel Sánchez Marble" market, its commercial use will be extended to the property to be renovated, constructing a new building there to locate a second market and relocating the baseball field in the set of the Sports Unit. The project must take into account the boundaries and make use of the street that connects with the existing market and the plaza of the Municipality Center to articulate the interventions within this area.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal Murga
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Diseño de mobiliario:
Pedro Zuñiga
Iluminación
Martín Leal Ruiz
11,500 m²
Within the framework of the Urban Improvement Program and the National Reconstruction Program, the "Construction of Public Market and Maneuver Yard" project, located in the municipality of Cunduacán, in Tabasco, joins the series of strategic urban improvement projects , rescue of public spaces and provision of basic infrastructure for marginalized areas, developed in Stage D.
The public market is an element of the commercial equipment, structured based on the organization of small merchants that provide the final consumer with the retail supply of food products, personal use and household items. As an important part of the commercial distribution chain, it is fundamentally oriented towards satisfying the needs of the population from the middle and lower strata.
The "Manuel Sánchez Marble" market in the city of Cunduacán does not have enough space to locate the current demand for commerce, in addition its surrounding sidewalks and those that adjoin the baseball field are saturated with informal itinerant commerce. The surrounding streets, on the other hand, are often congested because there are not enough bus stops to absorb the flow of public transport in the area. The proposal must provide space for merchants to formalize their work and continue selling in an orderly manner, as well as new vehicular traffic that frees up the streets.
With the project: PCA-27006EP001 "Construction of Public Market and Maneuver Yard" it seeks to provide the population of Cunduacán with new equipment, in which they access food provision services, safely and cleanly. Within the maneuvering yard, it is intended to provide the city with parking and ascent and descent areas that redirect vehicular flows.
The project addresses, among others, the following variables: gender equity and safety, while equal opportunities are considered for the use of the equipment, with the inclusion of spacious, well-lit environments that allow free access for all people to the different services. transportation and access to food and supplies. In addition, the economic benefit is favored from local tourism and commerce, along with complementary services and cultural events that could take place in this sector.
By renewing and expanding the offer of popular commerce, the project favors the integration of the urban population with the inhabitants of the rural sector, with special interest in the indigenous peoples, in renewed spaces within the city.
Through open and permeable facades, and internal patios that allow the market to be illuminated and ventilated, the architecture of the project responds to the conditions of hot-humid climate with abundant rains in summer, typical of Cunduacán; In addition, using brick from the region, it reactivates the economic activity of the municipality and promotes the use of economical materials with high durability and low maintenance, thus generating the least environmental impact.
Outside, the project integrates and connects with the existing equipment through a large square, which is articulated with the Bus Station, the old market and the Municipal Center. The inclusion of trees and low vegetation in it will provide the Public Market and the Bus Station with green areas and shaded areas that will allow greater public recreational and leisure use among the inhabitants of Cunduacán and will promote a position against climate change favor of environmental conservation.
The 12,400 m2 property is located in the center of the city of Cunduacán, where some of the most important facilities are concentrated. Nearby are the City Hall, the José Eduardo de Cárdenas central park and the Cunduacán General Hospital. The property is located next to the Central Trucking Cunduacán and
Rosendo Taracena Padrón Primary School. Therefore, in its surroundings there are many wholesale and retail stores, supermarkets, shopping malls, bank branches, churches, among others.
The land is an irregular polygon, facing Illustrious Men Street to the east, av. Fidencia Fernández Sastre to the south and Calle Sin Nombre to the north. To the southwest of the property there are residential buildings, while to the north, it adjoins the Cunduacán bus station. The block that is in the opposite corner, to the northeast of the property, contains the "Manuel Sánchez Marble" market, its commercial use will be extended to the property to be renovated, constructing a new building there to locate a second market and relocating the baseball field in the set of the Sports Unit. The project must take into account the boundaries and make use of the street that connects with the existing market and the plaza of the Municipality Center to articulate the interventions within this area.
Team
Andrés Berjón
David Esparza
Diego Rodríguez
Pedro Ceñal Murga
Taller Mauricio Rocha
Ingenieria Estructural
Óscar Félix
Diseño de mobiliario:
Pedro Zuñiga
Iluminación
Martín Leal Ruiz
11,500 m²
Index
Given the initiative of the Mexican store Caña Miel to display its merchandise in a more accessible context for pedestrians, this project consisted of transforming a boutique, originally located in a shopping center to the west of the city, into a nomadic or Pop-up store. that would be activated during the course of a day in a new and completely different location from the original. If it was something temporary and that took to the streets, we had to turn to the tianguis or markets on wheels so typical of Mexican culture as reference. Having two weeks to finalize the project, a visit was made to the Tizapán tianguis, south of the city, to study its spatial logic, be inspired by its infrastructure and thus begin to project. From the beginning, some intentions were established for the design of the project: The clothes had to be the most important thing, they had to look like a fetish, like objects of desire. Seeking to pay homage to the textiles that would be sold, the fabric became the first component of the installation. This could function as an envelope and in turn define routes and delimit spaces. The waterproofing membrane turned out to be ideal thanks to its translucent properties and its simplicity. Thus, he made the clothes stand out under games of different qualities of lights and shadows that evoked the experience of the flea market. Steel was added to the fabric that functioned as an envelope, which would generate the skeleton of the whole, and wood that would generate nuances. White, black and honey successively, in a balanced composition. The event exhibited pieces by some of the design artists who collaborate in the store, such as Alexia Ulibarri, Julia and Renata and Trista. The night ended with a cocktail party, screenings of fashion films and a music showcase by DJ Puma.
Team
Pedro Ceñal
Pop-Up Store Cañamiel
500 m²
Index
“A place becomes a place when you have had emotional experiences in it...”
aldo rossi
A privileged piece of land at the end of a closed street and on the hill of a river that comes from the top of the city of Cuernavaca.
On the ground, a house built at the beginning of the 1990s reminds us of tropicalized postmodernism with the tile that the subdivision conditioned at that time.
A 10X10 meter embankment on two levels connects with a bridge to the parking lot that houses guest rooms below.
The existing parking lot, which houses two guest rooms below, is connected to a volume of 10X10 meters on two levels, accessing it on its roof slab and connecting with the vertical circulation that leads to the garden.
The existing house, in its interior, was isolated from the landscape and the immediate context in the subdivision is the sum of imposing facades that formed a catalog of materials and gestures.
How could we build a silence among so much noise in the subdivision?
How to connect the volume of the house with the parking more freely knowing that it would be necessary to continue traveling the same height?
How to make transit sites, places of interest?
The architectural proposal consisted of freeing the walls completely, supporting everything on metal columns that would allow structure, transparency and ventilation at the same time. Open the house to the landscape. From the circulation value the outside taking advantage of the climate of the area.
Demolish unused areas and turn them into the most important connections. An empty and dark bedroom becomes a patio – access stairway, an isolated and sunny terrace becomes a living room – dining room – terrace by integrating the house into the main volume.
To intervene in an existing building, it is necessary to know it deeply and thus understand its stories, memories and possibilities. Casa Garza is today the place it has always been with a freer and more transparent structure. Design as a way to reconstruct history.
Team
Fernando Ituarte Verduzco
Fernando Ituarte Ortega
René Cervera Valdez
David Adrián Esparza Aguilera
Francisco Plata Ortega
Hain Gerardo Mata Rodríguez
Omar Alejandro Gómez Carbajal
Fotgrafía
Onnis Luque
test
ingles 1 modify
360 m2
“A place becomes a place when you have had emotional experiences in it...”
aldo rossi
A privileged piece of land at the end of a closed street and on the hill of a river that comes from the top of the city of Cuernavaca.
On the ground, a house built at the beginning of the 1990s reminds us of tropicalized postmodernism with the tile that the subdivision conditioned at that time.
A 10X10 meter embankment on two levels connects with a bridge to the parking lot that houses guest rooms below.
The existing parking lot, which houses two guest rooms below, is connected to a volume of 10X10 meters on two levels, accessing it on its roof slab and connecting with the vertical circulation that leads to the garden.
The existing house, in its interior, was isolated from the landscape and the immediate context in the subdivision is the sum of imposing facades that formed a catalog of materials and gestures.
How could we build a silence among so much noise in the subdivision?
How to connect the volume of the house with the parking more freely knowing that it would be necessary to continue traveling the same height?
How to make transit sites, places of interest?
The architectural proposal consisted of freeing the walls completely, supporting everything on metal columns that would allow structure, transparency and ventilation at the same time. Open the house to the landscape. From the circulation value the outside taking advantage of the climate of the area.
Demolish unused areas and turn them into the most important connections. An empty and dark bedroom becomes a patio – access stairway, an isolated and sunny terrace becomes a living room – dining room – terrace by integrating the house into the main volume.
To intervene in an existing building, it is necessary to know it deeply and thus understand its stories, memories and possibilities. Casa Garza is today the place it has always been with a freer and more transparent structure. Design as a way to reconstruct history.
Team
Fernando Ituarte Verduzco
Fernando Ituarte Ortega
René Cervera Valdez
David Adrián Esparza Aguilera
Francisco Plata Ortega
Hain Gerardo Mata Rodríguez
Omar Alejandro Gómez Carbajal
Fotgrafía
Onnis Luque
test
ingles 1 modify
360 m2
“A place becomes a place when you have had emotional experiences in it...”
aldo rossi
A privileged piece of land at the end of a closed street and on the hill of a river that comes from the top of the city of Cuernavaca.
On the ground, a house built at the beginning of the 1990s reminds us of tropicalized postmodernism with the tile that the subdivision conditioned at that time.
A 10X10 meter embankment on two levels connects with a bridge to the parking lot that houses guest rooms below.
The existing parking lot, which houses two guest rooms below, is connected to a volume of 10X10 meters on two levels, accessing it on its roof slab and connecting with the vertical circulation that leads to the garden.
The existing house, in its interior, was isolated from the landscape and the immediate context in the subdivision is the sum of imposing facades that formed a catalog of materials and gestures.
How could we build a silence among so much noise in the subdivision?
How to connect the volume of the house with the parking more freely knowing that it would be necessary to continue traveling the same height?
How to make transit sites, places of interest?
The architectural proposal consisted of freeing the walls completely, supporting everything on metal columns that would allow structure, transparency and ventilation at the same time. Open the house to the landscape. From the circulation value the outside taking advantage of the climate of the area.
Demolish unused areas and turn them into the most important connections. An empty and dark bedroom becomes a patio – access stairway, an isolated and sunny terrace becomes a living room – dining room – terrace by integrating the house into the main volume.
To intervene in an existing building, it is necessary to know it deeply and thus understand its stories, memories and possibilities. Casa Garza is today the place it has always been with a freer and more transparent structure. Design as a way to reconstruct history.
Team
Fernando Ituarte Verduzco
Fernando Ituarte Ortega
René Cervera Valdez
David Adrián Esparza Aguilera
Francisco Plata Ortega
Hain Gerardo Mata Rodríguez
Omar Alejandro Gómez Carbajal
Fotgrafía
Onnis Luque
test
ingles 1 modify
360 m2
“A place becomes a place when you have had emotional experiences in it...”
aldo rossi
A privileged piece of land at the end of a closed street and on the hill of a river that comes from the top of the city of Cuernavaca.
On the ground, a house built at the beginning of the 1990s reminds us of tropicalized postmodernism with the tile that the subdivision conditioned at that time.
A 10X10 meter embankment on two levels connects with a bridge to the parking lot that houses guest rooms below.
The existing parking lot, which houses two guest rooms below, is connected to a volume of 10X10 meters on two levels, accessing it on its roof slab and connecting with the vertical circulation that leads to the garden.
The existing house, in its interior, was isolated from the landscape and the immediate context in the subdivision is the sum of imposing facades that formed a catalog of materials and gestures.
How could we build a silence among so much noise in the subdivision?
How to connect the volume of the house with the parking more freely knowing that it would be necessary to continue traveling the same height?
How to make transit sites, places of interest?
The architectural proposal consisted of freeing the walls completely, supporting everything on metal columns that would allow structure, transparency and ventilation at the same time. Open the house to the landscape. From the circulation value the outside taking advantage of the climate of the area.
Demolish unused areas and turn them into the most important connections. An empty and dark bedroom becomes a patio – access stairway, an isolated and sunny terrace becomes a living room – dining room – terrace by integrating the house into the main volume.
To intervene in an existing building, it is necessary to know it deeply and thus understand its stories, memories and possibilities. Casa Garza is today the place it has always been with a freer and more transparent structure. Design as a way to reconstruct history.
Team
Fernando Ituarte Verduzco
Fernando Ituarte Ortega
René Cervera Valdez
David Adrián Esparza Aguilera
Francisco Plata Ortega
Hain Gerardo Mata Rodríguez
Omar Alejandro Gómez Carbajal
Fotgrafía
Onnis Luque
test
ingles 1 modify
360 m2
“A place becomes a place when you have had emotional experiences in it...”
aldo rossi
A privileged piece of land at the end of a closed street and on the hill of a river that comes from the top of the city of Cuernavaca.
On the ground, a house built at the beginning of the 1990s reminds us of tropicalized postmodernism with the tile that the subdivision conditioned at that time.
A 10X10 meter embankment on two levels connects with a bridge to the parking lot that houses guest rooms below.
The existing parking lot, which houses two guest rooms below, is connected to a volume of 10X10 meters on two levels, accessing it on its roof slab and connecting with the vertical circulation that leads to the garden.
The existing house, in its interior, was isolated from the landscape and the immediate context in the subdivision is the sum of imposing facades that formed a catalog of materials and gestures.
How could we build a silence among so much noise in the subdivision?
How to connect the volume of the house with the parking more freely knowing that it would be necessary to continue traveling the same height?
How to make transit sites, places of interest?
The architectural proposal consisted of freeing the walls completely, supporting everything on metal columns that would allow structure, transparency and ventilation at the same time. Open the house to the landscape. From the circulation value the outside taking advantage of the climate of the area.
Demolish unused areas and turn them into the most important connections. An empty and dark bedroom becomes a patio – access stairway, an isolated and sunny terrace becomes a living room – dining room – terrace by integrating the house into the main volume.
To intervene in an existing building, it is necessary to know it deeply and thus understand its stories, memories and possibilities. Casa Garza is today the place it has always been with a freer and more transparent structure. Design as a way to reconstruct history.
Team
Fernando Ituarte Verduzco
Fernando Ituarte Ortega
René Cervera Valdez
David Adrián Esparza Aguilera
Francisco Plata Ortega
Hain Gerardo Mata Rodríguez
Omar Alejandro Gómez Carbajal
Fotgrafía
Onnis Luque
test
ingles 1 modify
360 m2
“A place becomes a place when you have had emotional experiences in it...”
aldo rossi
A privileged piece of land at the end of a closed street and on the hill of a river that comes from the top of the city of Cuernavaca.
On the ground, a house built at the beginning of the 1990s reminds us of tropicalized postmodernism with the tile that the subdivision conditioned at that time.
A 10X10 meter embankment on two levels connects with a bridge to the parking lot that houses guest rooms below.
The existing parking lot, which houses two guest rooms below, is connected to a volume of 10X10 meters on two levels, accessing it on its roof slab and connecting with the vertical circulation that leads to the garden.
The existing house, in its interior, was isolated from the landscape and the immediate context in the subdivision is the sum of imposing facades that formed a catalog of materials and gestures.
How could we build a silence among so much noise in the subdivision?
How to connect the volume of the house with the parking more freely knowing that it would be necessary to continue traveling the same height?
How to make transit sites, places of interest?
The architectural proposal consisted of freeing the walls completely, supporting everything on metal columns that would allow structure, transparency and ventilation at the same time. Open the house to the landscape. From the circulation value the outside taking advantage of the climate of the area.
Demolish unused areas and turn them into the most important connections. An empty and dark bedroom becomes a patio – access stairway, an isolated and sunny terrace becomes a living room – dining room – terrace by integrating the house into the main volume.
To intervene in an existing building, it is necessary to know it deeply and thus understand its stories, memories and possibilities. Casa Garza is today the place it has always been with a freer and more transparent structure. Design as a way to reconstruct history.
Team
Fernando Ituarte Verduzco
Fernando Ituarte Ortega
René Cervera Valdez
David Adrián Esparza Aguilera
Francisco Plata Ortega
Hain Gerardo Mata Rodríguez
Omar Alejandro Gómez Carbajal
Fotgrafía
Onnis Luque
test
ingles 1 modify
360 m2
Index
Team
David Esparza
520 m²
Team
David Esparza
520 m²
Team
David Esparza
520 m²
Team
David Esparza
520 m²
Team
David Esparza
520 m²
Team
David Esparza
520 m²
Team
David Esparza
520 m²
Index
In a corner to the north of a garden aged by time, is this small study to work at home with the greatest possible privacy.
It is a square plan that arises from the height of the existing walls in the adjoining areas and is adjusted with the modulation of the tepetate ashlars.
The interior is a generous space to work with serenity and at the same time have very good natural light and warmth from the south, as well as a deep relationship with the garden through its windows.
The reduced palette of materials is born from the garden itself and from the materials that make it up. The project is a shelter to study under the shade of the trees.
Team
Patricia Gutiérrez
Fotgrafía
Onnis Luque
16 m²
In a corner to the north of a garden aged by time, is this small study to work at home with the greatest possible privacy.
It is a square plan that arises from the height of the existing walls in the adjoining areas and is adjusted with the modulation of the tepetate ashlars.
The interior is a generous space to work with serenity and at the same time have very good natural light and warmth from the south, as well as a deep relationship with the garden through its windows.
The reduced palette of materials is born from the garden itself and from the materials that make it up. The project is a shelter to study under the shade of the trees.
Team
Patricia Gutiérrez
Fotgrafía
Onnis Luque
16 m²
In a corner to the north of a garden aged by time, is this small study to work at home with the greatest possible privacy.
It is a square plan that arises from the height of the existing walls in the adjoining areas and is adjusted with the modulation of the tepetate ashlars.
The interior is a generous space to work with serenity and at the same time have very good natural light and warmth from the south, as well as a deep relationship with the garden through its windows.
The reduced palette of materials is born from the garden itself and from the materials that make it up. The project is a shelter to study under the shade of the trees.
Team
Patricia Gutiérrez
Fotgrafía
Onnis Luque
16 m²
In a corner to the north of a garden aged by time, is this small study to work at home with the greatest possible privacy.
It is a square plan that arises from the height of the existing walls in the adjoining areas and is adjusted with the modulation of the tepetate ashlars.
The interior is a generous space to work with serenity and at the same time have very good natural light and warmth from the south, as well as a deep relationship with the garden through its windows.
The reduced palette of materials is born from the garden itself and from the materials that make it up. The project is a shelter to study under the shade of the trees.
Team
Patricia Gutiérrez
Fotgrafía
Onnis Luque
16 m²
Index
Gabriela ingles
Team
Fernando Ituarte
David Esparza
Diego Rodríguez
Andrés Berjón
Gabriela ingles
60 m²
Index
In the second year of the degree I began to think about the nature of the drawing boards that are found in the classrooms of the faculty. In how they are the object with which we are most intimately linked: in them we think, draw, review, eat, cut, sit, etc. They are the recipients of our ideas and the traces we leave on them over time are part of our history.
These reflections led me to mount an exhibition entitled "Traces in time." The exhibition consisted of showing, as an installation, the marks left on the drawing boards of the workshop and thus show them as artifacts that receive traces in their constant use. We placed all the necessary stretchers to form a floor on which it could be walked. In the upper part of the walls we show the engravings of the drawing boards. With the idea of ??making the public walk on this "floor", the transit-time-trace proposal was reinforced and an unknown space was generated within a well-known one.
Team
Idea original
Fernando Ituarte
100 m²
Index
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
The Foundation, created in 2010, begins this stage by inaugurating this new space in Jardines del Pedregal for its new project that expands the scope of the Fundación Alumnos following its line of research, thought and education linked to art. The space shares a collection of more than 300 works by national and international artists such as Damián Ortega, Carl Andrè, Torolab, Dr. Lakra, Brian Eno, Francis Alys, etc. in addition to a good collection of books and spaces for the complete development of an extensive program of activities linked to these spaces. The implementation of the program and the use of the pre-existing structure were the starting point for the materialization of this project that connects visually with its surroundings through a sequence of patios, to go from being an abandoned industrial structure that offered an irrelevant facade to the property, to become the main body of it. In the set, tradition and contemporaneity are mixed through the use of materials and light. A floating facade of vitro block welcomes us, a canvas that generates curiosity in the visitor anticipating the exhibition space that uses this facade to attenuate and standardize natural light and thus optimize the viewing experience of the works. A volume that was originally a façade that seemed to mark the end of the property is now considered the center of the program. Access to the main volume and its connections with the previous program are made from concrete elements with an apparent finish that are integrated into the new patios, delimiting and framing these reception areas. By leaving the volume under the open exhibition space, it is possible to centralize the services of the program in addition to generating an optimal area for its multiple use as a workshop, projection room or exhibition hall. This volume filters the circulations orienting the user to the end of the property in which, like an oasis, a patio was planned for which it was necessary to dispense with the last wrought slab, reducing the collection space. This gesture, in addition to allowing light to enter through the back of the gallery, creates another open exhibition space. Water and stone are the guiding elements of this relief, a patio in which volcanic stone, water, seems to sprout, and in contrast, a piece by the plastic artist Pedro Reyes is located as an auction. Volcanic stone is the natural stratum of this area of ??the City, so it was decided to conserve it in part naturally, spontaneously as it was found, and in part by carving some pieces to place them again thanks to the dedicated hands of artisans. Mexicans, who like a mosaic squared each piece to level the pavement. The control of lights and shadows runs through the entire intervention, through a studied use of materials that, although they seek the roots of the stony ground, generate spaces that in any case appear dynamic and fresh. A perfect balance. The exhibition space, as the main piece of the program, overwhelms with its content and the spectacular nature of its simple presentation. Indirect lighting ensures the conservation and perfect visualization of the works during the day, while at night, an indirect lighting system is hidden on the rails of the metal racks that store the collection, allowing its use. This storage system for the works is conceived as one more architectural element, metal racks that can slide throughout the space and that in their movement allow different configurations on which to propose the museography. The orientation of the pieces and location of the racks, is also conditioned by the study of light, a free bay to the west, separates the works from the façade, which seems to be a gesture to leave an area of ??use for educational activities. and use of the activities programmed by the Institute, is a way that the light does not directly affect the pieces. In this setback area to the west of the nave, the service furniture was also selected in such a way as to show the character of the place; the chairs by the designer Oscar Hagerman reflect the character and respect for the materiality of the place, a precept with which Estudio FI designs the rest of the specific furniture for use in workshops and organization.
Team
Alberto Bolaños
David Esparza
Institute Students
1,000 Prueba
Index
The project is the expansion and remodeling of an old educational campus. Located south of CDMX, we reused an east-west building and preserved it as a classroom building. We built two new volumes, one to the south and one to the north, forming a central patio, which is at the same time the cover slab of a new parking lot. The connection of these new buildings, which house the cafeteria, library and services, is through a long distribution corridor built with a metal structure. Thus, the original masonry building and the new bodies built in concrete are connected by a third and final material. We seek to build a school complex in dialogue with its context, reusing existing buildings and hoping to enjoy the central courtyard as the heart of the Center for Higher Studies.
Team
David Esparza
Fotgrafía
Onnis Luque
Ingenieria Estructural
Ing. René Cervera Valdez
650 m²
The project is the expansion and remodeling of an old educational campus. Located south of CDMX, we reused an east-west building and preserved it as a classroom building. We built two new volumes, one to the south and one to the north, forming a central patio, which is at the same time the cover slab of a new parking lot. The connection of these new buildings, which house the cafeteria, library and services, is through a long distribution corridor built with a metal structure. Thus, the original masonry building and the new bodies built in concrete are connected by a third and final material. We seek to build a school complex in dialogue with its context, reusing existing buildings and hoping to enjoy the central courtyard as the heart of the Center for Higher Studies.
Team
David Esparza
Fotgrafía
Onnis Luque
Ingenieria Estructural
Ing. René Cervera Valdez
650 m²
The project is the expansion and remodeling of an old educational campus. Located south of CDMX, we reused an east-west building and preserved it as a classroom building. We built two new volumes, one to the south and one to the north, forming a central patio, which is at the same time the cover slab of a new parking lot. The connection of these new buildings, which house the cafeteria, library and services, is through a long distribution corridor built with a metal structure. Thus, the original masonry building and the new bodies built in concrete are connected by a third and final material. We seek to build a school complex in dialogue with its context, reusing existing buildings and hoping to enjoy the central courtyard as the heart of the Center for Higher Studies.
Team
David Esparza
Fotgrafía
Onnis Luque
Ingenieria Estructural
Ing. René Cervera Valdez
650 m²
The project is the expansion and remodeling of an old educational campus. Located south of CDMX, we reused an east-west building and preserved it as a classroom building. We built two new volumes, one to the south and one to the north, forming a central patio, which is at the same time the cover slab of a new parking lot. The connection of these new buildings, which house the cafeteria, library and services, is through a long distribution corridor built with a metal structure. Thus, the original masonry building and the new bodies built in concrete are connected by a third and final material. We seek to build a school complex in dialogue with its context, reusing existing buildings and hoping to enjoy the central courtyard as the heart of the Center for Higher Studies.
Team
David Esparza
Fotgrafía
Onnis Luque
Ingenieria Estructural
Ing. René Cervera Valdez
650 m²
The project is the expansion and remodeling of an old educational campus. Located south of CDMX, we reused an east-west building and preserved it as a classroom building. We built two new volumes, one to the south and one to the north, forming a central patio, which is at the same time the cover slab of a new parking lot. The connection of these new buildings, which house the cafeteria, library and services, is through a long distribution corridor built with a metal structure. Thus, the original masonry building and the new bodies built in concrete are connected by a third and final material. We seek to build a school complex in dialogue with its context, reusing existing buildings and hoping to enjoy the central courtyard as the heart of the Center for Higher Studies.
Team
David Esparza
Fotgrafía
Onnis Luque
Ingenieria Estructural
Ing. René Cervera Valdez
650 m²
Index