D E S T I N A T I O N

MARSEILLE
ARCHITECTURE AND MISCEGENATION
the project as teaching material
Unité d'Habitation, Le Corbusier.
Proyectos 5
Arq. Javier Sanchez Merina
PROFFESOR

Carla Flores García

TEXT AND GRAPHIC DESIGN

Jorge Arques Carbonell

Mateo Bernabeu Carbonell
Carla Flores García
Marina Sanchez Ardanza
Enrico Ugolini
Giada de Ramundo
PHOTOGRAPHY

Proyectos 5 2014
CONTRIBUTORS

Universidad de Alicante
 PROJECT
IPROJEC
NOD E C
PROJECTXT
RMARSEILLE
ROJECT
O EC
OJECT
MARSEILLE
PROJECT
PROJE
ROJ ECT
INTRODUCTION 1

MAPROJECT
PROJEC
ROJEC
OJECCT
BACKGROUND

PROJECT METHODOLOGY
3

PROJECT
ROJECTLE
IN CLASSROOM 10

APPROACHING: MARSEILLE 16

M
MARSEILLE
RESULTS 36

PROJECT
CONTRASTS WITH CUENCA, ECUADOR 38

MARSEILL
MARSEILLE
FOR FUTURE WORKS 40

PROJECT
ANNEX 43

MARSEILLE
Chateau La Coste, Marseille.
ph: jorge arques carbonell
INTRO
This work aims to show the conception
of a new methodology that could be
1

used in professional live and how the

students of the University of Alican-
te develop the architectural project
with it, in contrast of the way of de-
signing in the University of Cuenca.

Proyectos 5 (2014) is working with

the unknown, which is directly asso-
ciated with a travel to a foreign city,
and used as a learning tool. The stu-
dents should experiment the life in the
city, having an active participation
and finally they could help to trans-
form it with a project. The goal of the
trip is to change the city by becom-
ing, in this case, a Marseille citizen.

A final evaluation of the courses with

the same methodology in different
years shows how the environment and
different factors can produce different
projects. This way of teaching aim the
student learn how to design for spe-
cialize things, to develop creativity and
learn to control the project by their own.
2

BACKG

University of Alicante.
ph: carla flores garcía
ROUND
THE CLASS

This course is taught in the second se-

3

mester of third year within a period of 4

hours per class, twice a week. The lecture
has 45 students, 8 with previous studies in
technical architecture and 13 Erasmus.

The first class of the year the teachers

of this level exposed the content for
Proyectos 4 and 5; this allowed the stu-
dent to choose the best option. The
principal reasons why they selected this
class was the trip they will make in the
second semester, as well as the possibil-
ity of making a project more real, that
might be similar to a professional studio,
and specially for being a course dif-
ferent from the ones they had before.
About the Erasmus students, some were
told to take this course by comments
of friends that already took the course;
others didn’t have the chance to
choose, but were happy in the group.

The students are used to submit the proj-

ect with sketches for the initial ideas,
lately they use AutoCAD for develop
details, lately Photoshop for explaining
the project and making the sheets, in
very few cases they use illustrator and
InDesign. For a 3d model and rendering
they use 3dsmax and more common-
ly Rhinoceros. This class will encourage
them to learn different ways of exposing
a project, like videos models and blogs,
to make it understandable for a client.
4

Music Pavilion Frank Gehry _ Proyectos 5

THE CITY

The class is developed around a trip, a city nobody knows, not even the profes-
sor. This year the chosen city is Marseille, France’s oldest city and second largest,
241 km2 of which 100 km2 are of natural area and a population of approximately
1.6million people. It is a port city with a strong identity, and has become the Euro-
pean capital of the culture in France along 2013; this title was given for its cultural
diversity and the integration between them. Going to an unknown city makes the
student research and get into a different culture that may develop conflicts, ma-
fia, immigration, and other ways of living, anything similar to what they are used to.

THE PROJECT

The project before the trip is to create “Microarchitecture”, it’s a mini-

mum space qualified for a living. The simple expression where can only fit
one person. The students have to work and understand the culture, the ne-
cessities of people and solve the city problems with the microarchitec-
ture. This project is created as a normal one, just with the definition that
is only for one person, the students will pass through different difficulties
not considered previously, because is an exercise they never did before.
Once they get to the city, the trip will confirm the microarchitecture valid-
ity, and prepare the students for the next exercise. The final project is an in-
tervention in the city, solve the problem they identified, research, cre-
ate and design architecture; taking advantage of the first exercise.
 5

THE BLOG

The Blog is a tool to show

the projects along the
whole process. Also to
post other exercises for
the class and for mak-
ing comments to other
works so they can im-
prove in every step. The
blog is made every year
so students can take
them as a bibliographic
website. It is a tool used
by many architecture
studios so they get pre-
pared for professional life.

http://ua-destinomar-
sella.blogspot.com.es/

Unité d'Habitation,
ph: carla flores garcía
6

PROJECT METHO

PROYECTO 5
ph: carla flores garcía
ODOLOGY
This methodology is about working with
the unknown, go to a place you don’t
7

know anything, but you work around

a specific theme. The student should
find out the new ways of social orga-
nization from connecting the produc-
tion and consume, recognizing how
the different articles are fabricated
from the raw material to the final prod-
uct. It also can become into a sensibil-
ity to sustainability and develop con-
cepts of territory established for the
society and environmental consume.

Architect’s career is always surround-

ed by people, a team of multidisci-
plinary subjects from the moment of
creating a larger study to each work.
That’s why we must rescue the social
character of this course. It is import-
ant to encourage practices between
the partners and promote the union
between them, even to be a support.
And the participation with the people
involved on the project, to be more in
touch with their reality and their needs.
 This course is based on a trip as an ex-
perience that reinforces specialization
connections. To make the student do
an effort for investigate other camps for
8
completing their work. Beside the de-
sign they learn to think, to create new
things, turning into an initiative in the stu-
dent. At some point it may be demoti-
vated because of the slow progress of
the work, because each class is a new
beginning for the project, so they think
its missing stability in the progression,
but it is part of the process. After a cou-
ple of weeks it is recognizable the way
of giving responsibilities little by little.

The most important part is the pro-

cess, how to conceive the project,
the investigation, the different options
along the way. Everything will end up
in an architectural project. This is clar-
ified with 3 steps, the first made be-
fore the trip, secondly in the city it-
self and finally the “after trip” project. ph: carla flores garcía
ph: carla flores garcía The project begins with
the research about the

1
place where is going the
architecture, Marseille, the
conditions for projecting, 9
the social factors, of the
city, etc. in this research is
where the concept of the
project appears and the
most impressive thing of each neigh-
borhood is shown in the microarchi-
tecture. The criteria used born from the
interpretation of the concepts, mostly
shown in the structure. Lately when the
design is defined starts the develop-
Sometimes the student ment of the constructive system and
does not know what to the materials. This should be a solution
make of the statement that makes a relation between the ar-
to create an activity chitecture and the user. For all this re-
for travel. Is missing cre- search process the unique source is
ativity by the student to the internet. In many cases relevant
perform, to create new pages featuring articles on the sub-
ject, such as BBC, National Geograph-

2
activities on the trip.
In many cases the ab- ic. However, often the literature is not
sence of an explana- certified. For specialization in structures,
materials and sociological aspects in-
tion. Is perceived to be
volved in the project, the student goes
easier for the student to
to the internet, tutorials and ultimately
understand the demand with an ex-
see a specialist teacher in the subject.
ample but in this case there had not
been and it limited to tourist attractions
found on the internet. The trip is to ex-
periment the city, to live it, to identify
problems and possibilities for projects.

The work after the trip the student

should think and construct what Mar-
seille needs and wants. This work helps
the student to look in a different way
and find option of work. Coming back

3
to class they will de-
sign an architec-
tural project with
real statements. It
can be un the ur-
ban or architec-
tural intervention. ph: carla flores garcía
 C L A S S
O O M R

IN CLAS
C L A S S R O O M
C C L L A A S S S S R R OO OO MM
10
L A S S R O O M C
C L A S S R O O M
C L A S S R O O M
C L A S S R O O M
C C L L A A S S S S R R OO OO MM
C L A S S R O O M C
C L A S S R O O M

PROYECTOS 5
enero - junio
2014

C L A S SO O M R
C L A S S R O O M C
C C L L A A S S S S R R OO OO MMC
L A S S R O O M C
C L A S S R O O M C
C L A S S R O O M
C L A S S R O O M
C C L L A A S S S S R R OO OO MM
C L A S S R O O M C
 C L A S S R O O M

SSROOM
C L A S S R O O M
C C L L A A S S S S R R OO OO MM
11

L A S S R O O M
C L A S S R O O M
M C L A S S R O O M
C L A S S R O O M
MC C L L A A S S S S R R OO OO MM
C L A S S R O O M
C L A S S R O O M

C L A S S R O O M
C L A S S R O O M
C C L L A A S S S S R R OO OO MM
L A S S R O O M
C L A S S R O O M
M C L A S S R O O M
C L A S S R O O M
M C C L L A A S S S S R R OO OO MM
C L A S S R O O M
12
ph: carla flores garcía
The work is developed in groups of 6
students, a factor that determines the
way of working, each group should get
organized and each member work in
specialized topics to take advantage
of time. But taking decisions among a
large group is difficult and delay the
progress of the project. After a couple
of presentations and redoes the proj-
ects didn’t get a good level, it may
be because of the quantity of mem-
bers in a group that make difficult to
agree with each other. So they divid-
ed in to groups of 3 people, then the
development of the projects is quicker
and the results each time get better.
This methodology of learning pretend
to improve the project with exposi-
tions and the comments the teacher
and the classmates can make to each
group, during the class and in the blog.
These expositions at the beginning
show the first sketches of the projects,
later they turn into showings of the
prototypes, that every class changes
mostly in dimensions and different ma-
terials looking forward the best solution.
In class they should learn to find a reason
of being, that can involve the design
and the architecture. Everything should
have a why and to resolve a problem or
a necessity. The architecture created
needs a sense and the student should
 group talking with them
and making reviews for
improving their work. He
shows the importance of
13
learning from a mecha-
nism for making architec-
ture from it. Not to copy a
system, but to learn how
it works and adapts it to
the needs of the project.
Also to learn the behavior
of the material for taking
advantage of their prop-
erties, flexible or rigid,
for maybe generating a
structure of the material.
ph: carla flores garcía

To get ready for the trip

ty of the technique and
the student should make
how to take advantage
a journey with different
of it and the material. activities to do in Mar-
seille, to put their microar-
The time allows the stu- chitecture in action. Also
dents to work in class a research of information
and advance in the of the city, places, weath-
project while the teach- er, and questions for the
er pass through every experts they will visit.
identify an aspect of Mar-
seille with the microarchi-
tecture, and start learn-
ing the important things
for a project, such as,
how to get along with the
structure of the façade,
to look, to invent, ques-
tioning the material, in-
vestigation. Learn from
the different cultures,
everything by playing
with the unknown. In the
advanced class they
start looking for new
techniques, playing with
the structure and learn
to identify the feasibili- ph: carla flores garcía
14

ph: carla flores garcía

During the trip in Marseille, they should The second part of the semester they
identify the opportunity to make a proj- will develop a work as an architecture
ect, because that is how the profession- studio, the nearest they could to reali-
al work is. This had to be shown in class ty because it’s a process they will use
in their professional work. Then the stu-
as a postulate with a photomontage of
dents have started with the architectur-
the problem. After the trip the students
al project, and have just 2 months left so
talk about their experience in Marseille,
for getting organized, with the help of
what they saw, the interviews, their
a Gantt chart to follow along the pro-
perceptions, the problems they could cess. The students start to talk with prop-
identify and the debilities in the zones erty about their projects and what they
they visited. How the microarchitecture want because they know what they
develop in the city, if it worked or not. are talking about, they have lived it.
 The project is centered
in more real projects
that can be built, solv-
15
ing the needs the citizens
have, so that’s why the
trip wasn’t done for tour-
ists but to live the city.

The teacher explains to

the class the advantage
of building a method in
class because it can be
applied to other projects.
It’s about developing
ideas for creating archi-
tecture, to draw the ac-
tions for what the project
in being designed and
to go for an expert in the
themes needed. The pro-
cess takes the student to
other level of invention,
to improve their skills and
knowledge in other de-
sign areas for new ways of
showing the project. And
there is when the pro-
cess is the most important
part, because following
the correct way of con-
ception and research is
when a the final result
ph: carla flores garcía
is good architecture.
16

APPROACHING MA

NOTRE DAME DE LA GARDE

ph: jorge arques carbonell
RSEILLE
The main goal of the trip to Mar-
seille is living the city in activity, to ex-
periment how the live in Marseille is.
17

The activities give the student ideas

for solving the city problems and for
making a project back in Alicante.

The trip of 7 days showed different as-

pects of the city, from the rich to the poor
neighborhood and the squats in down-
town, how’s like to buy in the public mar-
ket and the diversity of people you can
find there, the different meting points
in the city and how people interact in
each one. The social conflicts in the city
and the special places, those are not
touristic. This trip takes the group to know
different professionals that work in Mar-
cella, and to have an inner approxima-
tion to different points of view of the city.

During the trip the students showed the

teacher the problems they taught the
group had, firstly the problem of com-
munication between teacher-student,
the information was different for each
group. Because of the big amount of
students it was difficult to coordinate the
visits, the schedule and the information.
The students are used to follow direc-
tions but tis course encourage them to
make their own rules, presentations and
to be learn to have new responsibilities.
18
DAY 1
The beginning of the
journey is full of expec-
tations, waiting for a bus NIMES_ ph: carla flores garcía

to an idealized but un- “As a team we reinvented the gen-

known location. Sleep in
the bus dreaming about
der, we reinvented the airport, we
the project that must be reinvented the nature, the high rise
realized. Awakening in building, reinvented the relation-
an unknown point and
ship of the old and new in terms
not understanding the
language. Adaptation. of how you create a new life cy-
Create nomadic societ- cle for a historic building keeping
ies that are inserted un-
the best of its identity from the past
der the classification of
“tourists”. But this trip is and all of these perhaps in anoth-
not to visit, but to explore er one where reinvent ourselves in
and remember, adjusting terms of changing circumstanc-
you to a new culture and
to live it, to understand it.
es or from experiences or knowl-
edge or fitting of new challenges.”
The travel starts in Nimes, Norman Foster.
a town in the south
of Frances, for having
breakfast. An unfamiliar
city showing the world
its history, the presence
of Romans, modernity,
and finally expressed in
a contemporary building
of Norman Foster, every-
thing mixed all together. NIMES_ ph: carla flores garcía
NIMES_ ph: jorge arques carbonell Arriving to Marseille af- nature and should take
ter leaving the luggage advantage of the site lo-
at the hotel, the first ap- cation of the university.
proach with the city is the Having a conversation
19
visit to the School of Ar- with Professor Jean -Marc
chitecture, very enriching Huygen and share a class
experience. Received by with 10 students and
the Architect Eve Roy, teachers and Florence
took the class around the Sarano Yvann Pluskwa,
building and explained seeing how different can
how it was conceived for be the classes between
its closeness to the nation- these two universities
It continues climbing al park, how’s the society and the projects too.
to the highest point of and how’s it shown in the Classrooms with small
the city for a panoram- building and it’s connec- amount of students and
ic view. Breathing clean tion with the outside, as two professors, can make
air, lots of greenery and the Marseillaise culture a personalized learning,
history that the city of- develops closer to the activities more detailed.
fers. Trying to absorb ev-
erything that a new city
can offer, their food, their
experiences. Identify the
relationship between the
new and the old tension
created between the
buildings in a city that
mystifies between them.
UNIVERSITY OF MARSEILLE_ ph: carla flores garcía
Each is characterized
with different materi- UNIVERSITY OF MARSEILLE_ ph: carla flores garcía
als, defining a time and
technology, and as both
these can be related in
the same space. The Tour
Magne, La Maisson Car-
rée, the Cathédrale, Le
grand temple and the
Carré d' Art. Inhabit ma-
chine of modernity that
give a clue to understand
its operation, examples of
important French archi- The adventure starts lat- metro, walk to the ho-
tects, such as Jean Nou- er when we had to take tel getting related with
velle. It’s an opportunity public transportation to
the Marseilles. Finally fin-
to learn from buildings, go back to the hotel,
ish off the night with the
structures and new con- an approach to the live
cepts of projects, and in Marseille, run to take main attraction center
how these were built. the bus, change to the of Marseille Vieux -Port.
20
DAY 2
First approach of Mar-
seille starts with a new per-
spective of the port in the MARSEILLE_ ph: carla flores garcía
morning, walking through
the square with Marseilles
in their normal day, going
to buy fish, on their way to
work, living their life. Next
visit is to The Friche, an art
factory, an area of life
and culture in Marseille.

Road to the Friche can

be appreciated every
detail of Marseille by LA FRICHE_ ph: carla flores garcía

walking through the city,

looking for any problem
that can be the start of a
project, and on its various
neighborhoods discover
that has more problems
than the ones we imag-
ined. Big cities always
hide problems to tourists,
and that is why to under-
stand Marseille is nec-
essary to make an own
schedule and get lost in
the city. We could see
many people living on
the street, which brings
problems of hygiene,
sanitation, garbage in
the streets, squats in each
block, rats and organ-
ics wastes are present
in the southern suburbs. LA FRICHE_ ph: jorge arques carbonell
Reach the Friche and LA FRICHE_ ph: jorge arques carbonell

look forward to the event

of the day, skateboard-
ing. Staying in the build- 21

ing gives the opportunity

to visit the cultural center,
exhibitions, shops, coffee,
and resting in the terraces
to see how life unfolds in
Marseilles on a Wednes-
day, when children do
not attend to school and
can share the day with
their parents, an interac-
tion between children
and another between
parents, enjoy the day
and forget about work,
to return to the routine on It was a great opportu-
nity for a group that was
Thursday. Having a beer
working with the city and
on the deck, chatting the skateboarding. They
with the gentleman who made interviews, take
sat in the same table. pictures and had the
chance to live the place
Discover young people
for the project. A skate
taking care of a garden park for all ages and
on the balcony. See the levels of performance is
city from the terrace, the a meeting point in the
trace profile. Late in the city, an opportunity for
art and graffiti as well as
day the skate class, deal-
being designed for ex-
ing with the balance, to treme sports. The chance
understand a way of liv- to learn and have fun
ing for many people, in in a skate park gets out
our inner child. Identify
a space for urban art.
the obstacles and ramps
Finish the visit and feel are designed in space,
the need to know more. LA FRICHE_ ph: mateo bernabeu carbonell
and link it to architecture.
 Nearby, is the Palace of
Ronchamp, to get there
we pass through a tunnel
22 decorated with special
symbols in buttons, badg-
es, flags and in differ-
ent languages, but all in
one place. Walk and see
how daily life goes be-
MARSEILLE_ ph: carla flores garcía
tween the Muslim, cath-
olics and atheist, how
they coexist in the same
city, in the same build-
ing. Is perhaps the archi-
tecture unifying breeds?

At night we meet Da-

vid Escobar, a Mexican
urban geographer liv-
ing in Marseille, work for MARSEILLE_ ph: marina sanchez ardanza

“Centre ville pour tous”

(Downtown for every-
one) an association that
want to defend peo-
ple’s right to housing or
to whom are forced to
habitat in unworthy con-
ditions. He explained the MARSEILLE_ ph: jorge arques carbonell

city from the urban side,

the problems of the main
street, “La Republique”,
has why the owner of
the buildings monopolize
the street, and the histo-
ry around it, giving many
aspects to the city for the
students to take advan-
tage and make projects. MARSEILLE_ ph: giada de ramundo
 23

MARSEILLE_ ph: enrico ugolini

LA FRICHE_ ph: mateo bernabeu carbonell MARSEILLE_ ph: carla flores garcía

After the talk with David,

we went to have dinner
in “Le champ de mars”
a restaurant located
in “La Plaine” a neigh-
borhood with an active
night live. The dish was
“Pastis”, “Turkish cous-
ine” that showed once
again the multicultural
.LE CHAMP DE MARS_ ph: marina sanchez ardanza
way of living in the city.
24
DAY 3
VIEUX PORT_ ph: carla flores garcía
Wake up, eat breakfast
and run. Start early in the
morning to reach the
best fish, the fresh ones in
the market at the “vieux
port”. Close
with Marseille life, in the
market, as in every city
always haggling for the
best price and amazed to
know that on the night we
will have a good dinner.
VIEUX PORT_ ph: carla flores garcía
MARSEILLE_ ph: jorge arques carbonell
ph: jorge arques carbonell
contact
ph: jorge arques carbonell
ph: jorge arques carbonell
As children hiking, we
must question everything;
discover how is this com-
plex system that pow-
ers the city, laden with
backpacks look at the
port but in this case with
a deeper look, Architect.
Identify problems that
arise as the absence of
shadow that makes trad-
er, placing a parasol in
average circulation, sell-
ers in strategic location
between the edge of
the platform for unload-
ing fish and grid drain.
 Later we met Thomas
Martin, an architect work-
ing in the regeneration of
a neighborhood, turning 25
it greener. He looks for
the abandoned back-
yards of the buildings
and produces their own
earth and then makes ur-
ban gardens for making
their own natural vege-
MARSEILLE_ ph: jorge arques carbonell
tables. Also interesting
of this project is how the
people in the neighbor-
hood gets involved on
it a start decorating the
streets with plants and
the collaboration with
the gardens and the rec-
ollection of wastes for the
different productions. He
also collects rain water
and has hens, a dry bath-
room and finally the proj-
ect plans to expand into
the surrounding plots and
also hit the city. In urban
art has taken the initiative
by placing flower pots
with plants in the groves,
which turns into a circula-
tion problem, because of
the small size of the side-
walk and thieves prob-
lems because the pots
MARSEILLE_ ph: jorge arques carbonell
are secured with chains.
26

ph: jorge arques carbonell

ph: marina sanchez ardanza

BULLABES
SMARSEILLE
SAA
MARSEILLBU
ULLABESA
LLABESA
ABESA
BULLA
ABESA
ABE
A
AB
MARSEILLBE
BESA
SA
ASEILLE
BULLABESA
BU
ULLABESA
ABESA
ph: giada de ramundo

ph: enrico ugolini

ph: jorge arques carbonell

ph: jorge arques carbonell ph: jorge arques carbonell

 This very colorful neigh-
borhood with graffi-
ti on the ground floor,
gives another image of 27
the city. Water, shade
and restaurant tables
give life to this place.
The lunch we had was
with the people of the
“Cours Julien” founda-
tion with food cultivated
on their urban gardens.
ph: enrico ugolini

With no change to stop,

the trip continues with a
meeting with Gabrielle
Salvia, a critical visit to
the project “Euromed”
and the climb to “No-
tre Dame de Garde”
where he explained a lit-
tle about the urban side
of Marseille between the
new and the old port.

Way back to the hostel

to prepare the “Bullabe-
sa” a typical dish of Mar-
seille based on fish. Each
group had to make a
dish to share it with the
class. The result was a
dinner where every stu-
dent could choose what
to eat from many options
and finally the “Bullabe-
sa”. We could see the
collaboration of every
student, music, laugh
ph: jorge arques carbonell
and effort of each group.
28
DAY 4
An activity of the trip
was founding a hotel for
two nights, so early in the
morning was the chang-
ing of baggage. By 10:30 ph: jorge arques carbonell
we met Tilman Reichert
at the MUCEM, who ex-
plained the concept and
the construction of the
building. This building won
the contest against other
proposals of many rec-
ognized architects, it was
because of the concept
of getting along the city
and the sea, for being
conscious with the envi-
ronment, and the adap-
tation to the landscape. ph: marina sanchez ardanza

The structure works for all

the building, non-inde-
pendent high on each
floor, enabling a better
job with a tree structure.
The MUCEM has sever-
al bioclimatic strategies,
the well water that sur-
rounds it, the double
façade, and a heating
system that takes wa-
ter from the sea and by
changing levels this cools
or heats the building. It is
built with a super highly
resistant concrete, further
this cast to resist diseas-
es by action of the salt. ph: jorge arques carbonell
 29

ph: google imagenes

Later a walk around and

a visit to “ La ville medi-
terranée” and the expo-
sitions, a walk in the “Eu-
romed” neighborhoog
and the “fonds region-
al dárt contemporain”.

By late afternoon we go to
a concert of oriental mu-
sic in downtown, another
activity that show a dif-
ph: jorge arques carbonell
ferent aspect of the city.
30

DAY 5
The day starts on the In-
ternational salon of art,
expositions of art in dif-
ferent styles. Many artist
from around the zone ph: jorge arques carbonell

presented their works,

sculptures, paintings and
so on. Near this cultur-
al center is located the
velodrome, that still is
in construction, we can
find the person in charge
of the roof construction,
coincidentally from a
Spanish company. That
person explained how
they work, with people
from all over the world,
in two periods, night for
ph: marina sanchez ardanza
ensemble the parts of
the roof and to put it up
the building and in the
morning no secure it.

In the afternoon a quick

lunch and instantly going
to the If island by ship.
There we visit the castle
and to know a little more
about the story of the
count of Monte Cristo.
Starring at the amazing
view from the highs point
of the castle. Way back
to the city a small stop
in the Frioul archipelago. ph: enrico ugolini
 31

As it is known Marseille has many neighborhoods of poor people, of special groups

of people, others for gypsies, and so on, many of them very dangerous for tourist
because people living there don’t like estrangers in their zones, so don’t even
appear on the touristic reviews. But as part of knowing the city even deeper, we
took the bus to the last station and arrived to “Bougainville” the first impression
was that the buildings and the neighbor-
hood in general aspect didn’t look bad,
but suddenly a gypsy marriage and the
women screaming at us, boys looking
with mean and incomprehensible glanc-
es. Then is where we star being scared, no
more people in the street, not even the
bus to go back, boys communicating with
each other’s about us and start talking to
us in another language, feeling we are sur-
rounded by them, then star walking back
to find another bus stations. Finally after
being followed by that young people we
get the bus and go back to the hotel.

For relaxing a moment we met at night in a

bar and have some drinks, talk about the day
and getting into the night life of Marseille.
32

DAY 6
Almost the final of the
trip, its necessary to know
as much as we can of the
city. This day is for getting
around the other side of
ph: jorge arques carbonell ph: carla flores garcía
the city, like the “nice”
one, the neighborhoods
of the people with mon-
ey. A small tour around
the neighborhoods of
the south, a walk around
Courniche Kennedy for
breathing pure air and
seeing the sea, “The
end of the world”in Cal-
lelongue. And finally finish
this natural expedition in
the national park of the
ph: carla flores garcía
Calanques, this excursion
show us how the Mar-
seilles enjoy their week-
end in family walking
surrounded by nature.
After walking a couple
of hours we decide to
go down to the sea lev-
el and take a bath in the
“cala de sugiton” very
cold water, stone beach,
but beautiful place. ph: marina sanchez ardanza
 Late afternoon is time for

changing of hotel, ones

again, but this time to 33

the best option for an ar-

chitect, we moved to Le

Corbusier Hotel, located

at the “Unité d'Habita-

tion” a building he made

by 1952. The concept of

the building is to make

a place with everything

ph: jorge arques carbonell

inside, a small city fitting

in a building; there you

can find departments,

restaurant, stores, a ho-

tel, kinder garden, a bak-

ery, an architect studio

and many more. We visit

the rooms and under-

ph: carla flores garcía
stand the performance

of the suite, how it was

taught, from the kitchen

and its furniture, the air

circulations, and many

aspects of the architec-

ture considered by Le

Corbusier that also where

specific of Marseille, very

ph: tatiana martinez soto
different from Spain.
34

ph: carla flores garcía

This is the day for putting

in action the microarchi-
tecture. At night we went
to the carnival, in “La
plaine” but the surprise
was when we arrived
and saw a big fire in the
middle of the plaza and
the police officer almost
fighting with the peo-
ph: carla flores garcía
ple there. The carnival
was over. Anyway as an
amazing city we find in
the other side of the pla-
za a group of musicians
playing music and people
dancing. Where the mi-
croarchitectures start to
taking place, later each
group walked around
the city for interact
with their architectures. ph: marina sanchez ardanza

DAY 7 tel. And quickly take the 35
ph: marina sanchez ardanza
ph: marina sanchez ardanza
ph: giada de ramundo
The last day, we ate
breakfast with an amaz-
ing view of the city from
the restaurant of the ho-
micro architecture to
the terrace of the build-
ing. Where the students
showed their microar-
chitecture and express
it with a phrase. Ending
the trip with the suc-
cessful of the project.
Final stop in “Château la
ph: marina sanchez ardanza
Coste”. “A special place
where art, architecture
and land came togeth-
er. Artists and architects
from all over the world
were invited to visit Châ-
teau la Coste and ex-
plore the beauty of the
landscape.” We walk
around the places and
seeing the landscape
and the pavilions, the
sculptures and appreci-
ating other ways of art.
Works from Tadao ANDO,
Louise BOURGEOIS, Franz
WEST, Alexander CALDER,
Frank O. GEHRY, Liam
GILLICK, TUNGA, Andy
GOLDSWORTHY, GUGGI,
Tatsuo MIYAJIMA, Hiro-
shi SUGIMOTO, Jean
NOUVEL, Jean PROU-
VÉ, Jean-Michel OTHO-
NIEL, Michael STIPE, Sean
SCULLY, Richard SERRA,
Tom SHANNON, Paul MA-
TISSE and Larry NEUFELD.
Finally we wake up in
Alicante, and ready for
starting a new project.
36

R E S U

Unité d'Habitation
ph: carla flores garcía
U L T S
After the trip the students show in

class their impressions of the city,

37

the problems they identify and their

experiences. It's important to know

how was the development of the

microarchitecture in the city and

if it helped the students to contin-

ue a deeper project with the same

tendency or start a new one from a

more relevant problem of Marseille.

The following classes are for

advance in the new project.

The following classes are for ad-

vance in the new project. The stu-

dents are showing their creativity

skills, they looked for their own proj-

ect, created it and start designing

it for a real propose. They mix the

criteria for creating new spaces

more sensible to people and archi-

tecture for interviewing on the city.

38

CONTR
The Faculty of Architecture of the Uni-
versity of Cuenca has different proj-
ect for each level, with different dif-
“Parallel to this notion of
the construction mate-
rial, is appropriated to
ficulties depending on the year of talk about the project
carrier of the students. Although the
material, that is to say,
mythology is apply to every level, or it
that elements, criteria, or
aims to develop a good project with
solutions that come from
a similar process despite its scopes.
the own experience or

The methodology used in Cuen- from others, this is the raw

ca pretends to produce and ques- material of the project to
tion knowledge in different steps. which the sense of order
of who is projecting will
1. Read the context give it a formal structure”
2. Understand its rela-
tion with men and environment HELIO PIÑÓN
3. Making coherent proposals
4. Reflection of the work

The course is developed with a maximum The biggest difference is in the creativ-
of 20 students, so the teacher can work ity the projects of UA have, the con-
with each group more intimal way. Most nections with the users and the con-
of the projects work as an integral work- cepts they develop. In contrast with
shop, where the students have one or the projects of the UC that are more
two teachers of architecture design and technique and just solve the users’ ne-
the support of other specialized teach- cessities they strictly think in the archi-
ers in other classes, such as structures, tecture and don’t innovate in design
constructions and sustainability. The fi- or create a new technique or pat-
nal work is presented in A0 sheets and ent. Finding a middle where the stu-
exposed in front of a tribunal conformed dent develop its creativity by creating
of design teacher of the same level. new architecture would be the best.
AST CUENCA
39

13
Read the context, in this initial step the Making coherent proposals (how the

students make analysis of the plot, the project appropriates of space, making

climate, the people, the zone and oth- a creative project that can change the

er aspects that may be related to the environment) once having the diag-

project, as politics, economics, trans- nostics, the concept and the criteria,

portation, etc. Depending on the de- the students start sketching and mak-

mand of the project, in this step also is ing proposals. Lately when the design

reviewed the state of art, examples of in defined the student start with the

relevant buildings with the same use and modeling of the project, drawing the

24
architects that had made same works. plans, making renders, and a 3d model.

Understand its relation with men and Reflection of the work, in the final

environment, in this step the students

step the teacher make a reflec-
need to do a deeper analysis that

will end with the initials aspects of the

tion of each work, if it works or not,
project and the concepts that will

follow the project. Furthermore the why it is good or not, if it is coherent

students present the information rec-

or not. Giving points to the students
ollected, the process they been fol-

lowing and the analysis made in front

to form its own criteria and correct
of the class so everyone can give an

opinion and help for a better work. the work for the final presentation.
40

FOR FUTURE

MUCEM
ph: jorge arques carbonell
EWORKS
I think that at the end of this process
the student should be capable to un-
derstand how to apply a new meth-
41

odology to create an architectural

project. And see how the whole pro-
cess has a sense at the end. It has
to be clear how this semester helps
them to develop professionally. This
is difficult to see for many students.

The students mention some positive

things about the class, for example the at-
tention the professor gives to each group
every class, it helps to solve the prob-
lems that appear in the process and the
motivation for each one to participate,
and for projecting with foundations.

The workshops they take along the se-

mester, as the one with Prada Pole,
encourage them to work. It would
be perfect if they had more and that
could be integrated to their project.

The students ask for a project that

gets into more real problematic, to
a work more like one in a studio. That
could be more exigent so they can
improve their technical formation. Be-
cause as they don't do plans and de-
tails, they don't see it as architecture.

Is difficult to follow with the design

process or with the activities be-
cause the students don't understand
the activity, it's required a guide or a
rule that govern the game and take
the mind to elaborate the project.
42

A
A
A
A
GRAFFITI
ph: jorge arques carbonell
A
 AANNEX
NNEX
ANNEX
43

AN N E X
The followings Worksheets

A N N E
show the best works of the past

AANNNNEEXX
years; with the same method-

ology we can appreciate dif-

ANNEX
ferent results in different cities.

A N N E X
Each project answers to a con-

A N N EEX E
tent, objectives and different

A N N X
activities established along

ANNEX
the course. For the evaluation

each project should have ev-

ery point correctly developed

and a good presentation.

44

ICELAND
1. CONTENT_
a. To be conscious of the human scale.
b. In the sustainable solutions we can find, mobility, clean tissues,
and food distribution. This change of product to result is the first step to take
for changing a sustainable being to the construction of ideas that could make
it possible. The course gets involved with this thought and develops it with the
concept of Slowness.

2. OBJETIVES_
a. Specifics: creating a network with the slow concept.
b. Generals: identify new social forms of organization. Sustainability.
c. Architectonic: form, function and technology.

3. METHODOLOGY_
a. Before the trip:
i. 1.1 MICROCONFERENCIA: SUSTAINABLE-EVERYDAY
ii. Conferencia Inaugural
iii. 1.2 SLOW FOOD
iv. Entrevista a Enric Ruiz-Geli El Mundo
v. Ezio Manzini en Alicante
vi. 2.1 MICROCONFERENCIA: OLAFUR ELIASSON
vii. 2.3 O.E. REVISADO V2
viii. 3.1 PATRONES DE MÍNIMA INSTALACIÓN
ix. Conferencia Museo Judío Berlín de Daniel Libeskind
x. 3.2 PATRONES DE MÍNIMA INSTALACIÓN V2
xi. 3.3 INSTALACIÓN MÍNIMA
xii. 4.1 PABELLÓN SLOW - SECCIÓN
xiii. 4.2 PABELLÓN SLOW - DETALLE MODELO
xiv. 4.3 PABELLÓN SLOW - PLANTA
xv. Olafur Eliasson: Jugando con el espacio y la luz
xvi. 4.3 PABELLÓN SLOW - PLANTA V2
b. Trip to Reykavik
c. After the trip:
i. Iceland project

4. TEMPORALIZATION_
a. Trip to Reykjavik
D ARCHITECTURE AND LANDSCAPE
BEFORE THE TRIP
45

2.1 MICROCONFERENCIA: OLAFUR ELIAS-

SON
The New York Waterfalls_ shows with an example the
concepts that Elafur Eliasson works with. He commu-
nicates the message with clarity and he appropriate
of the theme.
Author: Salvador Serrano

https://www.youtube.com/watch?v=i0lsX8uEb-
m0#t=202

2.2 OLAFUR ELIASSON REVISADO

In her first approach discovers the “mate” as a con-
cept of slow food, she studies the form in which is
consumed and generate a network within she gets
involved and design her own architecture.
46

3.2 PATRONES DE MÍNIMA INS- 4.3 PABELLÓN SLOW - PLANTA

TALACIÓN V2 V2

This work shows the patterns develop- RECORRIDO EMOCIONAL_ this group
ing the conceps of the class and how it uses models and videos to explain their
turns into a slow network Project. Project with clarity. They use the con-
cepts of class and research about the
Author: Ernesto Sánchez Mateu possible games of light and view.

Authors: Felipe Espinel, Manuel J. Fenoll,

Pablo Tejeda
AFTER THE TRIP

47

FINAL PROJECT

The final Project has combined the concept

of network and sustainability on its design, in

a way that the meeting point is also producer.

48

ISTAMB
1. CONTENT_
a. It may consider the notion of sexuality in the islamic culture and its
coexistence with European culture.
b. Understand the city and its dwellings as a political space.

2. OBJETIVES_
a. Specifics: concepts from the works of women artists.
b. Generals: identify new social forms of organization. Sustainability.
c. Architectonic: form, function and technology.

3. METHODOLOGY_
a. Pre viaje:
i. MICROCONFERENCIA: MUJERES ARTISTAS
ii. MICROCONFERENCIA V.2
iii. TRIPTICO ARQUITECTÓNICO
iv. CONFERENCIA
v. PATENTE CONSTRUCTIVA
vi. PATENTE CONSTRUCTIVA V2
vii. ENTREGA PRE-ESTAMBUL
b. Trip to istambul
c. After the trip:
i. Istambul project

4. TEMPORALIZATION _
a. Study trip to Istambul
BUL
BEFORE
MANIFIESTO
THE TRIP
A R C H I T E C T U R E
AND GENDER
FINAL WORK
AFTER THE TRIP
49

The “TORRE DE LA CONVIVENCIA”

Author: David Palazón Berná
http://issuu.com/er_deivid/
docs/manifiesto_sobre_arq_da-
vid?e=1744231/7471106#search
find a new form of social organization
and creates architecture in a way the
different cultures can life in the same
place.
Authors: Cristina Gil, David Palazón,
Pablo Lizán, Ana María Carreto
50

ATHENS
1. CONTENT_
a. It should be stressed that all these provisions were not only a con-
sequence of human relationships but to respond an thought of the world as a
whole, including also the environment

2. OBJETIVES_
a. Specifics: the concept of politics and democracy by creating a
free and active citizenship.
b. Generals: identify new social forms of organization. Sustainability.
c. Architectonic: form, function and technology.

3. METHODOLOGY_
a. Before the trip:
i. 1. ELECCIÓN DEL MITO CLÁSICO
ii. 1.2 MITO CLÁSICO / ENTORNO CONTEMPORÁNEO
iii. 2.1 STORYBOARD
iv. 2.2 TRÁILER
v. 2.3 LA PELICULA
vi. 2.4 CONSTRUCCIÓN DE LA COMETA
vii. 3. REPRESENTACIÓN DEL NUEVO MITO
viii. 3.1. ZONIFICACIÓN DE LA CIUDAD + DISEÑO Y EJECUCIÓN
DEL VESTUARIO.
ix. 3.2 ESCENIFICACIÓN DEL MITO
x. 3.3 PRESENTACIÓN DEL MITO
b. Trip to Athens.
c. After the trip:
i. 5. MODELO DE PLANEAMIENTO COLABORATIVO
ii. 6. PRODUCCIÓN Y EVOLUCIÓN CONSTRUCTIVA Y SIMBÓLI-
CA
iii. 7. ARQUITECTURA DEMOCRÁTICA
iv. 8. MANIFIESTO: ARQUITECTURA Y DEMOCRACIA

4. TEMPORALIZATION_
a. Study trip to Athens
S ARCHITECTURE AND DEMOCRACY
BEFORE THE TRIP
51

1.2A MITOLOGÍA GRIEGA: MITO CLÁSICO /

ENTORNO CONTEMPORÁNEO

Orfeo y Euridice

Author: Álvaro Madero

52

2.1B PROYECTAR UN NUEVO MITO:

STORYBOARD V2

Author: Group 10_ Silvia, Esther, Sergio

 53

2.4 PROYECTAR UN NUEVO MITO:

ARQUITECTURAS VOLADORAS

Cometa tensaédrica

Author: Group 1_ Chris, Borja, Inés

 AFTER THE TRIP

54
FINAL WORK
URBAN RESILIENCE: Social
Communities from City
55
Voids

Author: Group 1
56

NAPLES
1. CONTENT_
a.
b.
The porosity of the time transverse process.
The “non-contemporaneity” of Ernst Bloch about those places
where different times of history are in the same chronological time.
c. The idea of different geographies.
d. The textures that emerge from the alteration resistant structures.

2. OBJETIVES_
a. Specifics: the concept of democracy.
b. Generals: identify new social forms of organization. Sustainability.
c. Architectonic: form, function and technology.

3. METHODOLOGY_
a. Before the trip:
i. MICROCONFERENCIA: LECTURAS DE LA CIUDAD
ii. MICROCONFERENCIA V.2
iii. INSTALACIÓN URBANA. PROYECTO DE EJECUCIÓN
iv. INSTALACIÓN URBANA. PROYECTO DE EJECUCIÓN V.2
v. INSTALACIÓN URBANA. PROYECTO DE EJECUCIÓN V.3
vi. PATENTE CONSTRUCTIVA
vii. PATENTE CONSTRUCTIVA V2 in process
viii. PATENTE CONSTRUCTIVA V2 final
ix. CONSTRUMATUA
x. REGLAS DE JUEGO
xi. REGLAS DE JUEGO FINAL
xii. JUGADA LITERAL
xiii. EL JUEGO
b. Trip to Reykavik
c. After the trip:
i. Naples project

2. TEMPORALIZATION_
a. Study trip to Naples
 57

ARCHITECTURE AND TIME

BEFORE THE TRIP

2.1 MICROCONFERENCIA:
Mentalgassi_ explains the work of differ-
ent urban artists and their projects.

Author: Silvia Henarejos Martínez

https://www.youtube.com/
watch?v=1q5JChjSiOc

2.1 INSTALACIÓN URBANA. PRO-

YECTO DE EJECUCIÓN
Meeting bowls is a project with an im-
portant research along the process in a
way that can keep up with all the con-
cepts of the course.

Author: Carlos Aparisi.

58

2.2 INSTALACIÓN URBANA. PRO-

YECTO DE EJECUCIÓN V.2

The student creates a space in order to join

the project conditions and make the details
necessary for its construction.

Author: Belén Morillas Álvarez


2.4 INSTALACIÓN URBANA. PRO-
YECTO DE EJECUCIÓN V.3 3.2 PATENTE CONSTRUCTIVA V2
The work shows a previous analysis that
throws up the topics for the design,
take the criteria from the earlier exer-
cises and achieve the objectives of this
one.
Author: Andrea Disla
59
This final work is the presentation of an
exercise with a couple of previous eval-
uations; the group that accomplishes
the objectives makes a new patent
from the criteria of the first work. This
exercise develops the creativity and
needs of a clear explication through
graphics, as shown in this sheets.
 AFTER THE TRIP

60

FINAL PROJECT

The project is call Stra-

tusquare and take time
as a generator of histor-
ical layers and informa-
tion that are superimpos-
ing the ones behind and
continue by increasing
the complexity of the
place. It uses the prin-
cipal concept of the
course from a different
view and creates archi-
tecture from their own
point of view, new spac-
es for integration that are
in relationships ones with
the others.

Author: Goup 4
61
PROYECTOS 5
2014