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TEMPLO,
definido como el lugar donde reside un Dios, un altar separado del mundo secular.
Un reino aislado.
El templo nos invita a la quietud dinámica que reposa en el corazón de un mundo cambiante y nos recuerda nuestro lugar dentro del divino orden de las cosas.
Desde los albores de la humanidad, el ser humano ha sentido la necesidad de adorar a algo; la naturaleza, un conjunto de dioses, un dios, el conocimiento y el progreso, el dinero...
Este sentimiento ha tenido una repercusión arquitectónica evidente, con la construcción de templos que representaban espacialmente la filosofía del momento, utilizando siempre los mejores recursos disponibles y la tecnología más avanzada.
Así mismo, las propias estructuras espaciales desplegaban una gran cantidad de estrategias perceptivas que trataban de envolver al espectador en un halo estético intencionado que consiguiera emocionar y transmitir un sentimiento de adoración que buscaba diferentes fines.
Estas atmósferas de fantasía...son a las que se intenta aproximar el presente proyecto. Buscando extraer entre lo anteriormente citado, los patrones (morfológicos, filosóficos, sociales...) que configuran esta Arquitectura y extrapolarlo a la realidad presente, con una visión propositiva en su mayoría, pero también contemplativa y descriptiva.
Entendiendo los templos como Arquitecturas que reflejan la filosofía de una época, aparece una visión hacia nuestro presente que encuentra en el hedonismo, la sensualidad, el pecado... un espejo de algunas de las tendencias de nuestro siglo, procurando intencionadamente apartar otras muchas que por su naturaleza no proceden en este proyecto.
Con esta mirada contemplativa, nos acercamos a una realidad presente intentando encontrar un medio mediante el cual exponer propositivamente esta teoria. Así, encontramos en Burdeos, el entorno ideal en el cual trabajar, haciendo uso de él como un soporte en el que en ocasiones señalamos y describimos, superponemos una propuesta o tomamos prestado una pieza en la que intervenir.
Entendiéndose siempre estas acciones derivadas de una visión presente y enmarcándolas en lo que hemos denonimado “Arquitectura de fantasía, de evasión...”.
Presentamos pues, una mirada a la espiritualidad del siglo XXI, considerando el pecado y el hedonismo el motivo programático de todo el proyecto, interviniendo en Burdeos mediante tres escalas de aproximación y procurando adaptar la abstracción de estas ideas a una realidad sensible y en continuo cambio, que posee mecanismos de gestión y adaptación propios de los cuales ni podemos ni pretendemos apartarnos.
"ATMÓSFERAS DEL PECADO"
Final Project (10/10 with High Honors)
Exhibition and presentation of the project in ENSAPBX 24-28, July 2016
Presented to the local government of Bordeaux and the director of the Submarine Base
Presented in the CIAP of Bordeaux
Presented in the“Maison d’architecture d’ Aquitaine” 308
Published in the n.12 of the magazine “Designing the Future”
Honourable mention in the International Competion IE Architecture + Prize
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"Atmospheres of the sin" comes from an intense phenomenological and urban analysis of the context of Bordeaux city, where we add a field of personal experimentation regarding the French culture of seduction and transgression. This context provides many references of the notion of "TheTemple", a concept where we can dive into a new semantic and formal game, therefore creating a new hybrid identity.
Based on these insights, a new path is opened for development of all these cultural layers by identifying a careless space built from a few Second World War submarine hangars, with a large-scale. The submarine base of Bordeaux is in the harbour of Bassin à Flot; which rehabilitation, like one more piece inside the city, is the end of an urban regeneration, which concerns the river Garonne and that has turned Bordeaux into a "Urban laboratory ".
It is precisely this large-scale space the one that assembles a very "French sensibility" for large projects. We play with it deliberately, to introduce later a small experiences program with spectacles from nomadic urban interventions. These interventions are moved using barges. "Barges of the sin" are lodged in the hangars in winter, and also provide them scenic content. Thus, the project is constructed in three scales, with the rehabilitation of the Submarine Base as a hinge of the project.
Using these three strategies, a piece with a historical relevant content for the city is recovered; a rejected building for many inhabitants and which demolition has been under consideration. For its intervention, it was necessary to create the planimetries of the ruin because there were no previous plans. A constructive hypothesis allowed us to generate rehabilitation criteria that emphasize the building's value, with an ephemeral intervention whose disappearance would not suppose any ruin damage.
The project brings to light, not only the material heritage of our cities, but also the intangible. Throughout these three "Atmospheres of the sin”, built from a personal sight concerning the hedonism and its relation with the body, a new project is created, a project that can be everything or nothing: By everything I mean that it is capable of generating the most important city events in the shores of the Garonne and, later on, in the submarine base and finally disappears in hours without leaving traces of its intervention.
However, it is also nothing because both, its construction and structure are ephemeral, mobile and work in most occasions as scenographic elements than traditional
architectural pieces.
The presented atmospheres try to capture the immaterial thing by using networks, fabrics, plastic, textures, nebulas... looking for a proposal that contemplates the need of an interdisciplinary architecture, that questions the concepts of permanence, resilience and dynamism, in a changeable architectural present with the need of being questioned.
"Atmospheres of the sin" suggests movable urban strategies creating changeable spaces and temporary appropriations, recovering a ruin whose rehabilitation is key inside a neighborhood that is constantly conforming. In addition, it stresses the need to generate spaces of fantasy, evasion, emotion, seduction... Definitively, a space of perception.