juanalejo

moralesmor

The Barcelona Institute of ArchitectureBIArch

Selection of works 2011 / 2012juanalejomoralesmor@hotmail.com

Contents

x2011 - 2012x

/ / / Digital Culture

/ / / Productive Land Program

/ / / A look from the Above

/ / / Images in the iconic turn

/ / / Detournaments

/ / / Facade Technology

/ / / BCN Desire Lab

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EVOLUTION_WEEK_01

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_WEEK_02 _WEEK_03

ASSEMBLY

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BASE_COMPONENT

CHIRINGUITO_ La Barceloneta, Barcelona

_GROWTH INSPIRATION

_ORIGINAL FORM

_GROWTH STRATEGY

_ABSTRACTION

_FORM REVISION

_STRUCTURAL ATTACHMENT

_GROWTH PATTERN

_SCALE

_FORM VARIATION

_MATERIAL

_ATTACHMENT DETAIL

_APPLICATION

_LIGHTING STUDY_02_LIGHTING STUDY_01

_LIGHTING STUDY_03

_GROWTH PATTERN DEVELOPMENT

_OPAQUE OPTION

_SCALE

_TRANSPARENT OPTION

_VERTICAL ASSEMBLY_HORIZONTAL ASSEMBLY

The components form is based on a fractal growth pattern on a square base divided into four equal quadrants. Each quadrant increases in height by one unit (3cm). Resulting in an apparent hierarchy between the quadrants.

From this base growth pattern the component forms two options. One a solid form the other a hollow form, to give the user the opportunity for private/opaque areas, public/translucent areas and the gradients in between while constructing the intended form.

The assembly methodology for the components is based on three simple rules. Rule 1: a component may only connect to another through one quadrant at a time. The second and third rules establish the direction of growth, through the designation of a numerical value to each of the quadrants. The lowest having a value of 1 and the highest having a value of 4. When the sum of the two joining components creates an even sum the growth continues in the plain of the existing component. Though when the sum is odd the new component rotates 90 degrees.

_LOGIC_FORM

_VARIATION Each component will be made of cast acrylic resin, particularly Poly methyl methacrylate (i.e. Plexiglas). This material is lightweight. Making for an easy assembly, while also having high mechanical strength and resistance to ultra violate light. The color and transparency may be varied through pigments added during the casting process.

_MATERIAL Due to the materials high rate of thermal expansion it will not combine well with other materials, so the ideal scenario would be to attach with the same material. Attachment is made through the use of a peg made out of acrylic placed in pre-made holes in each component. Then using a Trichloromethane Solvent melting the acrylic, fusing the two components into one form.

_CONNECTION

Dhiraj Chilakapatyv - Beau Tyler Durham - Juan Alejo Morales Mor - Christophe Van Raemdonck

Digital Culture / / / Juanjo Castelln

In recent decades, new methodologies have emerged in architectural design that exploits the computer as a design tool. This has generated a varied set of digital skills and a new type of architectural knowl-edge. Digital design, however, doesnt mean working in virtual space but rather informing the physical reality of geometrical principles, performative behavior and manufacture logics. It is about the permeability of the threshold between the physical and the digital realm. Such permeability is procreated by an ex-change of data which itself is dependent on the formalization of inherent geometric relationships between different elements of the architectural design.This course aimed at the definition and understanding of digital design methods and tools and their role incontemporary architecture. Therefore, the basic logics and scope of these tools where presented thereby avoiding a formalistic approach.

Productive Landscape Program / / / Maria Buhigas, Marc Montlle, Anna Viader, Andrs Flajszer

The Productive Land Program (PLP) was oriented to research on and think over the productive and energetic capacities of the non-urban land as its way to become economically and socially sustainable within metropolitan areas. The current social framework is determined by the financial and political crisis, -i.e. economic deflation, breakdown of public protectionism, redefine the concept of private engagement, and the urge to find economies of subsistence. As a response to the current economic and political con-text, design strategies that take into account actions supported, promoted or managed by governmental policies where avoided. Instead, where focussed on designing strategies which can engage the private sector to be developed.

A View from Above: the Middle East. / / / Krunoslav Ivaniin

Can the multitude of spatial and cultural relations be given an architectural form to encompass the wide satellite view? How does that large frame influence the architectural perspective itself? Can architecture with its set of tools be instrumental in the production of knowledge on the vast scale of an entire geo-graphic region?Intention of this seminar is to translate the (Google Earth) view from above into architectural discusion, using architectural tools and terms. The Middle East is more than just a template here. Historical limits of this region have been shifting and its focal points changing since the very beginning of history. Density of relations between the strong physical form and its culural content continues to express itself in an abundance of patterns in different scales up until the present day. What the term Middle East actually means depends primarily on the perspective of the observer. In a series of close- ups, we shall examine the sublime view as architects, trying to go beyond what is visible at first glance.

Images: Architecture and The Iconic Turn / / / Philip Ursprung

Hadid Eco Architecture?

A recent article by Zaha Hadid and her partner Patrik Schumach-er in Spanish newspaper El Pais, entitled adaptive Building, is one of the most fallacious texts Ive read in the field of architecture.

As noted by Owen Hattersley in his article Zaha Hadid and the neoliberal vanguard in the pseudo-scientific verbiage of this duo, it is possible to glimpse the thousand plateaus on Deleuze and Guat-tari, this as the text of choice of all avant-garde charlatan architects, but Hadid and Schumacher take special care not to quote them. Zaha Hadid has had as usual, not to speak or write about ar-chitecture, but has drawn in a way that could be described as critical. Instead, his loquacious partner Schumacher, speaks for her in articles and interviews that are signed by both.In this paper, Schumacher talks about his tool for so-cio-environmental change: a style to which they have named Parametric, term borrowed from computer science:

Post-Fordism requires new spatial patterns, more varied, complex and densely built that are inherently adaptable. From a retrospective point of view, postmodernism (eighties) and deconstruction (nineties) could be understood as the first steps in this direction. They were soon replaced -and partial acquisitions of knowledge and discoveries were preserved and made- for a powerful new paradigm and a style that promises to lead a new wave of research and innovation in the field of design: Parametric.

Like every swindler architect his strategy is based on overwhelming the audience with concepts that are not explained, lets do the work: postFord-ism means flexible diversified production and/or production for the sake of quality, in opposition to the term Fordism involving mass production

Then, to generate greater astonishment, he explains what his (Za-has) new style is about:

The premise of parametricism is that all urban and architectur-al elements should be parametrically adaptable. Instead of assem-bling rigid and tight geometric figures (as have all previous archi-tectural styles), parametricism introduces malleable elements in a dynamic play of mutual responsiveness and contextual adaptation.The key processes of design are the variation and correlation. Every component of the architecture must interface with all other aspects of design and have an effect on them. This should result in an over-all intensification of relationships that enrich and give coherence, and facilitates users to understand the architecture and move through it.

First of all, and to avoid confusion, we should clarify that parametric design is not a style, is a production of digi-tal objects, and its definition is simple: it is the use -in a program of computer aided design- of parameters that restrict forms.

As way of illustration, a parameter can be the walls of a project only have 30 angles to each other, that there are windows only when the wall is facing north, that the roofs are generated by a given ra-dius, and so on. This produces a form that complies with the deci-sions that the designers have taken previously, the parameters can be of various kinds: stylistic, environmental, aerodynamic, and so on.

We must also clarify that since ancient times architectural design incorporates all relations with the environment, with users, tech-nology, and so on. Whether these relationships are visible to the user or not, has always relied on the architect, here again there is nothing new, contrary to what Schumacher wants to appear.

Schumacher at the end parametric fits the suffix ism and declares it as a style. And is clear that all style involve some type of communication, Schumacher, with his magic wand, gives to it the power to communicate:

Dtournements / / / Cecilia Puga, Olga Felip

In the studio Dtournements, the students will construct a place and an event, about which we only have access to certain remains or outlines of architecture:The material and virtual vestiges of an old industrial installation: the Dock of La Cruz GrandeThe 1916 construction plans of the dockPictures of the dock as it used to be and its infrastructure supportThe remains of a group of stone corrals: the Chungungo settlement as it used to beThe Tofo Iron Mine from which we can only see a mark on the landscape.

La Cruz Grande Dock, Chungungo Settlement and their proposed connection, are all physically located on the cost of the arid zones in north of Chile, on latitude 29 south and longitude 71 west, 70 km north of the city of La Serena.

With the aim of reusing these physical and cultural remains, the students will define personal interventionstrategies, which they will use to express a new programmatic and material identity over the pre-existing one and through acts of interpretation, dtournement and juxtaposition.

The mutual interference of two worlds of feeling, or the juxtaposition of two independent expressions,supersedes the original elements and produces a synthetic organization of greater efficacy.

Guy Dbord and Gil J. Wolman / A Users Guide to Detournement, 1956

The settlement will focus on tourism and will be physically located over the ruins of the settlement of Chungungo and Puerto de la Cruz Grande. The program, dispersed over this territory, will construct a self-sustainable autonomous tourist unit

eating

laundry

storage

administration

supplies

staff dwellings

sleep

work

hygiene

MAZE

READ

write

work

sleep

play

museum

fireplace

music place

jentar montar

enclosed

open

contemplation

memory

remembrance

baptisim

CHUGUNGO TANKS DOCK

SERVICE

\isolation/\meditation/

\contemplation/\Dark vs light/\concentration/\contact with

nature/\silence/

\dislocation/\space /

Christophe Van Raemdonck+

Juan Alejo Morales Mor

Faade Technologies / / / Miquel Rodrguez

Principles of Construction where studied in great detail to evolve from heavy weight solutions to very light, al-most vanishing skins.These Principles where followed by our own and personal research and specific practice.Our aim was to transform designs into real envelopes, meaning not only a skin that can per-form successfully but also a skin that can be (passively) active by interacting with exterior and in-terior conditions, energy efficient, energy collector, durable, flexible and certainly, interactive.

In this respect, coordination of all disciplines is indeed a key issue in our designs: the more contemporary the building is (energy efficient, comfortable, easy to handle & simple), the more complicated the integration is. Particularly in our faades, all needed elements have to be integrated in order to achieve a successful design.

BCN Desire LAB The Joy of the Unexpected / / / Pere Riera, Xavier Vancells

Looking out for The perpetual

Mona Lisa & Buda Smile

Based on Spencer Holst Mona Lisa finds Buda, is the directors interpretation of an action (smiling) as an non-temporal action that happens in an non-temporal space, by waving as the main key for this loop. By writing occasional smile stories the Buda and Mona Lisa smile is discovered in the streets of Barcelona.

www.flickr.com/smileBCN

DORIS SALCEDO

SHIBBOLETHFRAGMENTATION, WAR AND TRAUMA

PROJECT TRANSFORMATIONS

A

B

C

Before After

Under the bridges renovations / water storage and decantation

Under the bridges renovations / Orchards