FAD Awards 2019

Yesterday, the night of architecture were back in Barcelona another year, a party that each year gathers together a thousand professionals for the prize-giving ceremony of the FAD Awards for Architecture and Interior Design. Students have an special role during this event, because of the Habitàcola Awards prize-giving.

The FAD awards were established in 1958 with the aim of promoting current state-of-the-art artwork and recognising the quality of traditional languages in opening new paths.

Nowadays, the same desire of promoting the values of architecture and interior design in our everyday social cultural lives still lives on, and the initial creative field has expanded in the last few years, adapting the Awards to a more complicated and fickle reality than ever.

FAD Awards for Architecture and Interior Design are the longest-lived and most widely recognized awards in Spain and Portugal in these disciplines and this year they are celebrating their 61st staging. As every year the best projects in the categories of Architecture, Interior Design, City and Landscape and Ephemeral Interventions will be highlighted, among the shortlist projects.

Here you have the winners

Winner FAD Architecture 2019: IES PLAYA FLAMENCA in Orihuela Alicante by Alfredo Paya Benedito

© Hisao Suzuki

 

Winner FAD Interior Design 2019: Restoration of the reading room in the library of the Banco de España building in Cibeles, Madrid by Matilde Peralta del Amo

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© Luis Asin

 

Winner FAD City and Landscape 2019: Seafront promenade El Prat de Llobregat, Barcelona by Imma Jansana, Conchita de la Villa, Robert de Paauw

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© Lourdes Jansana

 

Winner FAD Ephemeral Interventions 2019: Mies missing materiality, Barcelona by Eugeni Bach Triadó, Anna Bach

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© Adrià Goula

 

Congratulations to all the winners!!!

Good design is…» Talks

What is good design and which should be its role faced with the current challenges to humanity?

This session invites professionals from the different disciplines associated with design to learn from each other on the way they deal with today’s design challenges, starting from Dieter Rams’ «10 Principles of Good Design», which have proven to be timeless and valid in any discipline.

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GARY HUSTWIT pict

«Good design is …» Talks is a programme of conferences with prominent names such as Feminist Internet, Lolo & Sosaku, Chris Lefteri, Lievore + Altherr Désile Park, Apparatu, Lacol, Curro Claret, Harquitectes, Tina Gorjanc, Zak Group, Deutsche & Japaner, Maria Ke Fisherman or Anne Lacaton. This last one, the chair of the jury of the International FAD Awards 2019, will be in charge of closing the session, which will feature debating spaces moderated by José Luis de Vicente.

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Fashion, graphic design, advertising, architecture, interior design, product design, art, crafts… all the disciplines together in a session to discover national and international benchmark figures who will explain their projects, the principles and values they follow in their professional practice and their personal vision in today’s context on the 10 principles of Dieter Rams, who defined good design as follows:

 

1. Good design is innovative.
2. Good design makes a product useful.
3. Good design is aesthetic.
4. Good design makes a product comprehensible.
5. Good design is unobtrusive.
6. Good design is honest.
7. Good design is long-lasting.
8. Good design is thorough down to the last detail.
9. Good design is environmentally friendly.
10. Good design is as little design as possible.

 

This will be an opportunity to answer the key questions of the profession today: What is necessary and what is unnecessary in the current production and consumption model? What is design’s responsibility in the way we live and how we care for the environment? Is the hedonistic part of the creative act compatible with design’s vocation of service in society? Which role should new technologies play in the design of goods and services? How can design contribute to making people interact more democratically? These and many other questions will be food for thought in the «Good design is …» session of talks and debates.

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This activity is part of the series «Good Design is…», aimed both professionals and general public, as well as a special screening of the documentary «Rams» by Gary Hustwit and a family day curated by Domestic Data Streamers.

Today 18.06.19  9.00 am to 8.30 pm

Disseny Hub Barcelona. Auditorium and Foyer
Pl. de les Glòries, 37-38 Barcelona

More and Tickets

AADIPA European Award for Architectural Heritage Intervention winners

The success of contemporary solutions in maintaining the original spirit of heritage, and ambition in order to reassert and disseminate its value, the common threads running through the winning entries.

The winners of the 4th edition of the European Award for Architectural Heritage Intervention AADIPA are among the reconversion of a landmark building in Barcelona (formerly home to a workers’ cooperative) for use by local residents; the renovation of a square that reflects the complex and diverse history of Albania; the urban renewal of a deprived neighbourhood in Porto; the recovery of a historical centre in Cantabria or an initiative that fosters built heritage as cultural capital both for the population of Equatorial Guinea and for tourism. The jury, which has highlighted the success of these contemporary solutions in maintaining the original spirit of heritage, has selected 12 finalists, four winning projects, one special mention and one special restoration award from a total of 239 works.

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The European Award for Architectural Heritage Intervention AADIPA is a biennial award organised by the COAC (Association of Architects of Catalonia) and the AADIPA (Association of Architects for the Defence and Intervention in Architectural Heritage), sponsored by the Ministry of Culture of the Government of Catalonia and Barcelona City Council. This fourth award, with a record number of participants and from a wide variety of countries, is cementing its international reputation and renown.

The winners of the 4th European Award for Architectural Heritage Intervention AADIPA have been announced by the jury today at the COAC headquarters in Barcelona. The announcement of the 12 finalists, one special mention and five winning works was made during the 4th International Architectural Heritage Intervention Biennial AADIPA. The awards have been presented by the Right Honourable Maria Àngela Vilallonga Vives, Minister of Culture of the Government of Catalonia; Mr Marc-Aureli Santos, Director of Urban Architecture and Heritage of the Deputy Manager’s Office for Urban Planning of Barcelona City Council; Mr Gonçal Marqués Sagnier, Project Manager – Head of Operations of the Catalan Land Institute; Mr Antoni Vilanova, President of the AADIPA; and Ms Assumpció Puig, Dean of the Association of Architects of Catalonia.

Given the wide range of the submitted projects, the international jury of the award has wished to highlight not only the professionalism and architectural quality of the entries but also their capacity to demonstrate that a contemporary intervention can keep alive the original spirit and ambition of these elements in order to disseminate and boost architectural heritage.

In category A) Intervention in built heritage.

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©Adrià Goula

The jury has decided to give the Award to the Civic Centre Lleialtat Santsenca project by H Arquitectes.This decision is the result of attaching great value to the way in which the project maintains the original spirit of the building, a social place with memory, shown through the relationship between the spaces that house new uses framed within the history of the existing walls. A sensitive architecture built using low-budget solutions and committed to sustainability by means of powerful passive systems that structure the project. Furthermore, the jury has decided to give a special mention to the rehabilitation of dwellings in the deprived neighbourhood of Ilha da Bela Vista in Oporto, carried out by Cerejeira Fontes Architects and LAHB (Laboratory of Basic and Social Housing), due to its capacity to implement a programme and a sustainable project capable of transforming an urban area that needed an efficient and inclusive renewal.

In category B) Exterior Spaces.

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Skanderberg-©Filip-Dujardin

The winning project is Skanderbeg Square in Tirana, by 51N4E, Anri Sala, iRI and Plant en Houtgoed, attaching special importance to the freedom exercised by the project authors in meeting the challenge of working on a site that is extremely complex and symbolic due to its key historical and political context. And due to the humbleness expressed through a subtle topography that reasserts to the same degree the value of the surrounding historical architectural complex and creates porosity with the setting, breaking with the composition of the established urban axis and generating a new model of urban space.

In Category C) Planning.

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The jury has decided that the winning project is the special protection and rehabilitation plan of the Historical centre of Liérganes and its surroundings, by Carlos Riaño Lozano, Carlos Ferrán Alfaro, Fernando Navazo Rivero, Carlos Ferrán Aranaz and Luis Herrero Fernández. In the jury’s view, the intervention is highly valuable for the recovery of day-to-day life, combating the phenomenon of the progressive abandonment of historical centres. The jury also highlights that this is a plan of practical application whose level of detail shows the authors’ extensive knowledge of the vernacular architecture and scenic values of the place.

In Category D) Dissemination.

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Pocho Guimaraes Malabo

The winning work is Guinea Heritage 2020, by Montserrat Villaverde and Laida Memba Ikuga. This project integrates and structures strategies of research, knowledge and dissemination, considering built heritage as cultural capital for the population of Equatorial Guinea and for tourism. The jury underlines the fact that a project which began life as a piece of academic research has had the capacity to grow, involving not only national and international experts but also social, artistic, educational and governmental agents, having a positive impact on civil society, involving communities and contributing to the essential recovery of heritage. A participative, multidisciplinary, integrated and replicable model, which exemplifies the capacity to return to society from the Academy.

The 4th edition of The European Award for Architectural Heritage Intervention AADIPA, directed by Ramon Calonge, Oriol Cusidó, Marc Manzano and Jordi Portal; members of the Association of Architects for the Defence and Intervention in Architectural Heritage AADIPA, part of the COAC, with a record number of participants and from a wide variety of countries, confirms its reputation and its international notoriety.
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Jvjol i el dibuix Exposició: Col·leccions COAC.19

Jvjol i el dibuix 06 JUN – 07 JUL

El pasat 6 de juny, es va inaugurar al Col·legi d’Arquitectes la dinovena exposició de la sèrie “Col·leccions” de l’Arxiu Històric del COAC. La mostra Jvjol i el dibuix, comissariada per l’arquitecte Roger Subirà, s’emmarca en l’Any Jujol 140 que commemora el naixement de l’arquitecte.

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© Col·legi d’Arquitectes de Catalunya (COAC)

“Aquesta exposició és una petita reflexió sobre els dibuixos de Josep Maria Jujol a través de tres arguments: el dibuix com a eina d’aprenentatge, el dibuix casual o distret i el dibuix com a procés de projecte. Aquesta estructura ens permet mostrar alguns dels dibuixos del nostre fons que normalment no surten a llum pública.

Que Jujol era un dibuixant extraordinàriament dotat és un aspecte que cap dels seus estudiosos passa per alt. Jujol era capaç, per exemple, de dibuixar o pintar amb les dues mans de manera simultània i fer-ho, a més, en un conjunt coherent i unitari. Les seves formes pictòriques, el seu traç, és característic i únic, i és present tant en els seus dibuixos com en les decoracions que omplen la seva obra construïda.

Com si fos un modern “graffiter” i sense cap plantejament aparent, qualsevol superfície pot ser susceptible de rebre l’acció “artística” de Jujol, com qui dibuixa distret de forma automàtica en un paper mentre parla, les seves obres s’omplen de gargots o dibuixos aleatoris. L’arquitectura de Jujol és, en efecte, una obra d’art total on el seu esperit creatiu recorre tots els aspectes i detalls, tant en la seva concepció com també i especialment en la seva execució material. Els edificis de Jujol són llenços on desplegar-hi la seva creativitat incontinent i qualsevol material és a punt per ser esculpit, desgastat, retorçat… i aquesta mateixa actitud és la que aplica als seus dibuixos.

Roger Subirà
Maig 2019

L’exposició s’emmarca en la sèrie “Col·leccions”, que mostra material custodiat per l’Arxiu Històric per tal de donar a conèixer el ric patrimoni documental del Col·legi.

Barcelona Design Week’19

 

The Barcelona Design Week will open its doors from 12 to 20 June to celebrate the 14th edition, a new opportunity to live and enjoy an unmissable event on design, creativity and innovation in Barcelona and one of the most important Design Weeks of the international calendar (Best architecture, design and technology events for 2019 per Dezeen). The BDW is member of the World Design Weeks network.

A city event, for the city.
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The Barcelona Design Week 2019 will open with a very clear goal: to bring design to people and involve the industry’s main actors in the city to share Barcelona’s design vitality with the world and the city, enhance its social and economic importance and invite the citizens to experience it. Over a week all design lovers will enjoy an extensive programme encompassing more than 120 activities open to the city, prominent among them exhibitions, workshops, talks, open doors, but also activities aimed more at the professional public to create business opportunities and facilitate the exchange of knowledge.

All areas of design

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The profession, the young talent, the recognition of design excellence and culture provided by FAD. The enterprise, strategic value in terms of innovation, sustainability and competitiveness as well as the promotion of the Barcelona city brand, led by BCD. And the Museu del Disseny as the principal collaborator, contributing its heritage and public dimension together with its dissemination capacity.

La Barcelona Design Week 2019 is directed by BCD Barcelona Centre de Disseny, organised by FAD Fostering Arts and Design and BCD, in collaboration with Museu del Disseny, driven by Barcelon City Council, and supported by the Government of Catalonia.

Design in Diagonal: Experience 12 Kilometres of Creativity!

Design will be crossing the city of Barcelona during the Barcelona Design Week with a tour of creative activities for different spaces that are spread out across the almost 12 kilometres of Diagonal Avenue, a unique axis in Barcelona that will be a hotspot of design and creativity for a week.

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This year, the BDW is hosting the first edition of “Design in Diagonal”, an initiative promoted by BCD Barcelona Design Centre in collaboration with The Creative Net, with the participation of flagship stores, shop windows, hotels, restaurants and other featured spaces on the city’s main artery. These spaces will open their doors to the public to show off their interpretation of this year’s motto for the Barcelona Design Week, “Transitions”, through various creatives whose goal is to help the public get a closer look at the role of design.

Exhibitions, round tables, architectural routes, talks, workshops and installations will be just a few of the key aspects to experiencing the transitions proposed by the creatives: urban, social, cultural, disruptive or digital transitions will invade some of the most representative sites on Diagonal Avenue.

#Transitions #Bdw2019 #DesignInDiagonal.

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Fixing the future event at CCCB 7th and 8th of June

Fixing the future: Are you a future curious?

Organized by Atlas of the Future, Fixing the Future is back. And this year it’s bigger, better and faster – because the future can’t wait!

After 2018’s sold out event in Barcelona, Fixing the Future will return on the 7th and 8th of June at the CCCB with more than 40 Future Heroes from around the world. This time they’re helping fix biodiversity, our oceans, food and farming, cities and the climate crisis.

From rockstar chefs and a big wave surfer to visionary architects and the youth sparking a worldwide movement: you can expect stories of people doing things very differently.

Among them, the “City Reinvertor” Areti Markopoulou and the “Future City Prototyper” Vicente Guallart will tell us how to solve the audacious goals of our planet with radical methods.

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Here you have 3 of the most important speakers!

Global women’s rights leader and climate activist: Winnie Byanyima:

The Executive Director of Oxfam International is a women’s rights leader and authority on tackling climate change. Winnie previously led the directorates on gender and development at the UN Development Program and the African Union Commission, and served eleven years in the Ugandan Parliament. She co-founded the 60-member Global Gender and Climate Alliance.

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Photo: Bruno Bierrenbach Feder / Oxfam

Urban visionary: Carolyn Steel

A leading thinker on food and cities, Carolyn was profiled by The Ecologist magazine as a “21st Century Visionary”. With reason. The London-based architect, lecturer, BBC presenter and TEDGlobal speaker coined ‘Sitopia’ – now a widely-recognised way of seeing the world through the lens of food – and her ‘Hungry City: How Food Shapes Our Lives’ was BBC Food Programme book of the year. What lessons can we learn from the past?

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Book jacket

Godfather of modern sustainability: John Elkington

As a pioneer of the global sustainability movement for over 30 years (before the concept was even born), the prolific author and founder of corporate advisors Volans created the well-loved ‘Triple bottom line‘ (People, planet, profit) strategy for responsible business. His next step: launching an exponential call to arms.

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Meet all the speakers Here!

European Award for Architectural Heritage Intervention

The European Award for Architectural Heritage Intervention AADIPA publishes the names of those shortlisted of the contest’s 4th edition

The European Award for Architectural Heritage Intervention AADIPA, which closed the call for its fourth edition on April 12 with record participation figures, has published the shortlisted works in categories A and B of the Award.As a new initiative and in order to give visibility to a greater number of works andto recognize the optimum level of good heritage practice in Europe, the Awardmanagement has considered it appropriate to incorporate an increase in the numberof works shortlisted in both categories.

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In particular, the international jury for category A -Intervention in Built Heritagecomprising the architects Louis Leger, Marià Castelló and Leticia Soriano, has chosento shortlist the following 15 from the 163 projects presented:

 

  1. – Buda Art Centre, Kortrijk – Belgium. 51N4E
  2. – Casa Luz, and old townhouse, Extremadura, Spain. Arquitectura G
  3. – Country house, Girona, Spain. Arquitectura G
  4. – Innovation powerhouse, Eindhoven, Netherlands. Atelier van Berlo + Eugelink Architectuur + De Bever Architecten
  5. – Parliament of Canton Vaud, Laussane, Switzerland. Bonell i Gil Arquitectes, Atelier Cube
  6. – 3 historical buildings, Antwerp, Belgium. Bovenbouw Architectuur, Barbara Van Der Wee Architects
  7. – New access to the historic centre of Gironella, Barcelona, Spain. Carles Enrich Studio
  8. – Ilha da Bela Vista, Porto, Portugal. Cerejeira Fontes Architects
  9. – Streetmekka, hub for street sports and street culture, Vibork, Denmark. EFFEKT Architects
  10. – Cave di Arzo, quarries, Mendrisio, Switzerland. Enrico Sassi Architetto
  11. – Palace of Justice, Strasburg, France. Garcés-de Seta-Bonet Arquitectes, Serra-Vives-Cartagena Arquitectes
  12. – Civic Centre Cristalleries Planell, Barcelona, Spain. HArquitectes
  13. – Civic Centre Lleialtat Santsenca, Barcelona, Spain. HArquitectes
  14. – Factory Cultural, Creative Industries Incubator, Madrid, Spain. OSS – Office for Strategic Spaces
  15. – Sant Antoni Market, Barcelona, Spain. Ravellat Ribas arquitectes
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While, in category B -External Spaces- the architects, Benoit Moritz, Elisabeth Abalo and Elena Albareda, after evaluating the 34 participating proposals, have chosen to shortlist the following 10 works:
  1. – Skanderbeg Square, Tirana, Albania. 51N4e
  2. – Ermita del Pla de Sant Joan park, Barcelona, Spain. AMB (Barcelona Metropolitan Area)
  3. – Accessibility project for the Heritage Park of Ceto, Paspardo, Italy. Babau Bureau, Elisa Brusegan
  4. – Path along Igualada’s old gypsum mines, Barcelona, Spain. Batlleiroig Arquitectura
  5. – Visitor Center at the abbey site, Villers-la-Ville, Belgium. Binario Architectes, Pigeon Ochej Paysage, L’Escaut Architecture
  6. – Access to Jorba’s Castle, Barcelona, Spain. Carles Enrich Studio
  7. – Cal Metre’s path, Barcelona, Spain. Carles Enrich Studio
  8. – Zollverein Park, Essen, Germany. Planergruppe GmbH Oberhausen
  9. – Schalker Verein, Gelsenkirchen, Germany. Planergruppe GmbH Oberhausen
  10. – Archaeological remains of the ancient Roman Theater of Tárraco, Tarragona, Spain. Estudi d’arquitectura toni gironès
On June 13, within the framework of the International Biennial of Architectural Heritage, an event organised by the Award management, with the support of the COAC, AADIPA and the Government of Catalonia, the finalists and the winner of the 4 categories of the award will be made known. Likewise and for the first time, from all the works presented, the Award management will grant a Special Award for Restoration to the intervention, which from a technical and methodological point of view, stands out for its quality, precision and respect.

 

Great reviews to start june

Today we would like to share two recent reviews we have received on trip advisor that have filled us with joy! It is a great privilege for us to know that a large percentage of our customers are happy with our work. In fact, for our architects it is the best compensation.

With more enthusiasm than ever we are looking forward to transmitting our passion for the architecture, the history and the culture of our wonderful city to those that, like us, are ready to fall in love with Barcelona.
A big thank you to everyone for these fantastic reviews and congratulations to Pia Wortham and Jelena Prokopljevic, the two leading architects and recipients of the reviews… great to have you on our team!

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Best tour I have ever taken!

My wife is an architect and we booked this as a special event for her birthday; I am also a philosophy professor with an interest in architecture and city planning. So perhaps the fact that we loved this tour so much has partly to do with our personal history. But I think many people would feel the same way (my wife’s best friend, sister, and uncle and aunt, who came with us, certainly did).

Jelena was clear, extremely informative – she really knows everything about Barcelona’s architecture and city planning, and designed the tour around a series of very interesting questions (the political and economic reasons why there is so little green space in Barcelona; Gaudi’s fraught relationship with his architecture teacher and how their rivalry shows up in the city; how contemporary architects, and citizens, relate to the history of their city).

She was also fun, charming, and very sensitive to everyone’s needs. I learned more about cities in general – not just Barcelona – than I have ever done before. We wound up walking and talking for close to 6 hours (the tour was supposed to be 4.5 hours but we weren’t finished by then and Jelena really wanted to complete it), and we reveled in it for days afterwards.

Maybe this is more than some people would want, but we thought it was fabulous and recommend it strongly to anyone else with similar interests. We’re not generally tour people, but this was an outstanding exception; it transformed our entire stay in Barcelona.

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Image from Mace Marx

Gaudi Houses Walk

We took this wonderful tour today and enjoyed it so much…I wanted to write a praising review right away. Our tour guide was an Architect named Pia and she enlightened the 4 of us in attendance with such in-depth knowledge of Barcelona…I couldn’t believe how much I learned about the city’s history- ancient to current- in 3 short hours!

Pia clearly had abundant understanding of all things Gaudi, and had a keen and personable ability to share that knowledge with us easily. Her expertise in architecture and engineering let her easily communicate the ways Gaudi specifically designed and built his buildings. She had many visual aides- laminated maps, floor plans, books, and she even whipped out paper and used her top-notch drawing skills to illustrate different design elements that Gaudi and his contemporaries used.

We have been on many tours the last 2 weeks we’ve traveled in Europe, and this tour today was my tie for #1 favorite ( with a great 6 hour tour of Vatican City). If you want to get an in-depth understanding of Gaudi’s homes ( without even going inside), rather than the typical finger pointing and earphone juggling, and a smart, understandable, overall discription of the architectural development of Barcelona….take this tour…it will really educate and inspire!

Thanks for a great tour Pia!

 

Here you have our Spring tours program:

BARCELONA & GAUDI a great start to discover the genius of Gaudí. Every Tuesday, Friday and Sunday as Regular Walking tour. And Monday and Wednesday as a Private Tour.

BARCELONA & THE URBANISM travel with us to the origins of the modern Barcelona. Every Wednesday.

BARCELONA & THE FUTURE CITY walk through the smart-city looking for our Future and discover with us the new Superblock at Poblenou. Every Monday.

BARCELONA & THE SEA  discover Barcelona through its architecture. Every Saturday.

BARCELONA & THE MARKET see Barcelona through the eyes of Enric Miralles. Every Friday.

In addition to 5 special tours:

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BAW & RCR a full day coach excursion to see the most emblematic works of the RCR studio, awarded with the Pritzker of Architecture 2017.

BCN & LANDSCAPE coach tour of the largest urban parks in Barcelona.

BARCELONA & HIGHLIGHTS a tour designed to last 4, 6 or 8 hours discovering Mont Juic, the Mies van der Rohe pavilion, the gothic quarter, the Santa Caterina Market, the famous city block known as the “block of discord”, as well as the Pedrera by Gaudi.

BCN & MODERNISME  4-5 h expedition, during this tour we will see all the structures of the BARCELONA & GAUDI plus the area of the 1888 exhibition.

BCN & BARCELONA 1929 a tour discovering the projects that were made for the transformation of Barcelona on the occasion of the Universal Exhibition of 1929.

For these 5 special tours contact us here.

Each route is driven by a set of themes and concepts that decode the city whilst stimulating new ways of thinking about and seeing Barcelona. Come and walk with us and live a fantastic experience!!!

BOOK NOW!

Barcelona & Modernisme Special Tour

A trip through the magic of an artistic movement: Barcelona & Modernisme!

Today we want to talk about one of our favorite Special walking tours, Barcelona & Modernisme, Gaudí is probably the most representative of all of the modernist architects, but this trip will take beyond his most famous works to discover the origins and all the details concerning this artistic movement.

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The reintroduction of nature inside the industrial city, the symbolism of Catalan tradition and the mysticism involved in it were used as guidelines towards a new architecture, driven by the bourgeoisie in Catalonia. We will get between curvy iron shapes, petrified plants and animals framed by colorful tiles and bricks that will take us to a magical world.

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We will see some of the first examples of Modernism in the 1888 Exposition in Parc de la Ciutadella that permitted the demolition of the former Citadel, as well as places such as “Els Quatre Gats” where the precursors of Modernisme gathered to spread the ideals of the movement to every artistic medium. We will discover the first works of Gaudí and see how he took the Modernisme movement to its highest level of excellence through his most eclectic masterpieces such as the Casa Batlló and Casa Milà.

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We will see the works of other masters through their most relevant works such as Domenech i Montaner’s Palau de la Música and Casa Fuster, Valeri’s Casa Comalat, Puig I Cadafalch’s Casa de les Punxes and many more.

And here you have our Spring tours program:

BARCELONA & GAUDI a great start to discover the genius of Gaudí. Every Tuesday, Friday and Sunday as Regular Walking tour. And Monday and Wednesday as a Private Tour.

BARCELONA & THE URBANISM travel with us to the origins of the modern Barcelona. Every Wednesday.

BARCELONA & THE FUTURE CITY walk through the smart-city looking for our Future and discover with us the new Superblock at Poblenou. Every Monday.

BARCELONA & THE SEA  discover Barcelona through its architecture. Every Saturday.

BARCELONA & THE MARKET see Barcelona through the eyes of Enric Miralles. Every Friday.

In addition to 5 special tours:

BAW & RCR a full day coach excursion to see the most emblematic works of the RCR studio, awarded with the Pritzker of Architecture 2017.

BCN & LANDSCAPE coach tour of the largest urban parks in Barcelona.

BARCELONA & HIGHLIGHTS a tour designed to last 4, 6 or 8 hours discovering Mont Juic, the Mies van der Rohe pavilion, the gothic quarter, the Santa Caterina Market, the famous city block known as the “block of discord”, as well as the Pedrera by Gaudi.

BCN & MODERNISME  4-5 h expedition, during this tour we will see all the structures of the BARCELONA & GAUDI plus the area of the 1888 exhibition.

BCN & BARCELONA 1929 a tour discovering the projects that were made for the transformation of Barcelona on the occasion of the Universal Exhibition of 1929.

For these 5 special tours contact us here.

Each route is driven by a set of themes and concepts that decode the city whilst stimulating new ways of thinking about and seeing Barcelona. Come and walk with us and live a fantastic experience!!!

BOOK NOW!

Johannes Braumann Lecture

IAAC Lecture Series 2018/19 “Discretizing Robotic Processes” by Johannes Braumann

Johannes Braumann is researching applications of industrial robots in architecture. He is a graduate of Master Building Science and Technology and fellow of the Austrian Academy of Sciences.

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Together with Sigrid Brell-Cokcan, he founded the Association for Robots in Architecture with the goal of making robotic arms accessible to the creative industry, organized Rob|Arch 2012, the first international conference on robotic fabrication in architecture, art, and design, and acted as co-editor of the Rob|Arch proceedings, published by Springer. He is the main developer of KUKA|prc (parametric robot control), a software tool for robotic fabrication and interaction which enables the accessible programming and simulation of robotic arms, directly within a CAD environment.

His research on robotic fabrication has been presented at many international, peer-reviewed conferences, and published in research journals and books. In addition to teaching both technical classes and design studios at TU Vienna, Johannes Braumann has held robotic fabrication and Grasshopper workshops at international venues.

Johannes is also part of the IAAC Master in Robotics and Advanced Construction (MRAC) Academic Staff.

IAAC Lecture Series 2018/19

28th of May 2019
Johannes Braumann
Association for Robots in Architecture / University for Arts and Design Linz / IAAC

Discretizing Robotic Processes

@ 19.30, IAAC Auditorium
Free and Open to the Public

Architects to choose ethics over aesthetics

Architects can limit the environmental impact building has on our changing climate using their power as specifiers, they just need to take responsibility and do it, says Christine Murray.

Architects are quick to bemoan their loss of status, sensing the growing lack of respect for the profession. The unveiling of £250m trinkets, such as Thomas Heatherwick’s stairs-to-nowhere The Vessel, do little to subvert the public perception of architects as court jesters to the rich, complicit in the crises of our time.

Most architects are blase when it comes to climate change. I’ve often been told, “designing a building to last one-hundred years is the most sustainable thing you can do”. Not only is this untrue, it’s dangerous nonsense.

At current rates of warming, most places will become uninhabitable due to floods, wildfires, drought and heatwaves – triggering mass migration. War and famine will follow as we move inland and scrabble over resources. This is not happening in the distant future. Read the news: from cyclone Idai to the Central American caravans, Southern Californian fires to the war in Syria, the process has already begun.

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It will unpredictably, radically, grow worse. One quarter of Boston will be underwater at some point in the next 25 years. By 2100, southern Europe will be in permanent drought and the areas burned by wildfires in the US “could quadruple”, David Wallace-Wells writes in The Uninhabitable Earth. By then, 1.5 million homes in the UK will face coastal flooding and 100,000 homes will fall into the sea. We’ve been given 12 years by the UN to dramatically lower carbon emissions to reduce the chances of the earth’s sixth extinction. Instead, CO2 is rising.

What is the point of firmness, commodity and delight in the face of crop failure, nothing to drink, or breathe? Forty per cent of insect species are in decline; if we lose them all, we have no pollination – nothing to eat – and the entire ecosystem collapses due to starvation. What matters is now, not whether your stone facade is still standing at the fall of mankind.

The frustrating thing is that architects do have power, even if they fail to wield it, in the unsexy realm of specification

I’ve written about my frustration with the lack of discourse on climate change at major events such as the MIPIM property fair. Investors are slowly waking up, according to a recent report by the Urban Land Institute, but architects are still daydreaming, despite the recent rousing of industry titles such as The Architects’ Journal.

Few starchitects have responded to the crisis. Foster’s contribution, which includes the Bloomberg HQ in London and Masdar City in Abu Dhabi, are full of contradiction, belying a love of technological gadgets encased in new-build tonnages of glass, steel and stone. Projects such as BIG’s New York U flood defences are temporary mitigations, not solutions.

 

The frustrating thing is that architects do have power, even if they fail to wield it, in the unsexy realm of specification. And this matters more than you might think.

Over the lifetime of a building, 55 per cent of carbon emissions are from products and materials – not including shipping, which adds another 10 per cent, according to the UK Green Building Council.

Given construction itself is responsible for half of all global carbon emissions – yes, half – that’s a whopping contribution to climate change. Cement alone emits eight per cent of global carbon, while steel contributes nine per cent.

Architects are lazy and unprofessional when it comes to material selection

There’s a reason why product manufacturers spend millions every year on fancy showrooms, sponsoring architectural awards, free CPD lunches and stands at trade exhibitions: architects hold massive sway over the use of products. Even where the client has the final say, architects present the shortlist of three-to-five types of stone, or toilet…

Yet architects are lazy and unprofessional when it comes to material selection. A major survey by the AIA reveals seven out of 10 architects specify products based solely on their personal relationship with the supplier, and rarely do any research at all. “It’s an extremely relationship-driven market,” said Nik Werk, manager of the research. In short, it’s who you know, not what.

In addition, the study found that 57 per cent of architects copy-and-paste their spec from a previous project, with 16 per cent reusing it wholesale. The result is an industry stuck on repeat and plagued by corruption and nepotism.

Interestingly, the AIA study points out that multidisciplinary firms with significantly more women are more likely to take environmental factors into consideration when specifying, suggesting that if you are forward-thinking in one respect, you are in other ways, too.

The impact of specifying green is huge: 20 per cent of a building’s carbon emissions can be prevented by changing to less wasteful, more recycled materials, according to UK waste charity, WRAP. A further 15 per cent can be saved by designing lean in terms of structure, and efficiently for less wastage of materials, such as reducing off-cuts.

Further carbon reduction can be found in reducing transport and the use of construction vehicles and generators – responsible for 14.5 per cent of the most dangerous fine particles in the air around us – by using methods such as prefabrication and offsite construction.

Our civilisation faces its end date. Cities are expanding refugee camps for a species in crisis. Every particle matters. What can you do differently today?

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I. M. Pei, un moderno que quiso ser clásico

El autor de la pirámide del Louvre, la torre John Hanckok de Boston y el Banco de China en Hong Kong, Ieoh Ming Pei  murió el pasado jueves a los 102 años. ¿Sabemos qué tipo de arquitecto fue?

En 1938, un jovencísimo (21 años) y ya muy refinado Ieoh Ming Pei decidió que el Massachusetts Institute of Technology era el lugar donde debía estudiar. Nacido en Cantón, hoy Guangzhou, en abril de 1917, había crecido en Hong Kong, donde su padre se trasladó para dirigir el Banco de China. Fue precisamente su padre quien lo convenció para que estudiara en Estados Unidos. Tal vez solo se lo dijo, eran otros tiempos. Pei solicitó admisión en la Universidad de Pennsylvania pero, tras desembarcar, no tardó en pedir el traslado a Cambridge, el barrio de Boston, al otro lado del río Charles, donde se encuentran Harvard y el MIT. Fue una decisión crucial. Para cuando terminó sus estudios en el MIT, en 1940, ya había conocido a la que sería su esposa durante 72 años, la artista Eleen Loo, que estudiaba arte en la universidad femenina de Wellesley. En 1942, cuando se casaron, iniciaron juntos estudios de postgrado en Harvard. Ella se convirtió en paisajista. Y él en uno de los mejores discípulos de Walter Gropius. Fue esa mezcla de vanguardia tecnológica del MIT, credo bauhasiano de Gropius e infancia privilegiada en China la que desembocó en un arquitecto que, siendo moderno, ambicionó ser clásico; un tipo que entendió que ser de su tiempo pasaba por arriesgar. Y lo hizo. I. M. Pei arriesgó.

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El arquitecto Ieoh Ming Pei, durante la construcción de la pirámide del Louvre, en París, en 1985. JEAN-PIERRE COUDERC (CORDON PRESS)

En Harvard no solo había conocido a Gropius. También lo tuteló Marcel Breuer, el entonces futuro autor de Whitney de Nueva York —hoy Met Breuer mezclando el nombre de su actual propietario, el Museo Metropolitan, con el de su autor—. El tacto de Breuer, más que los cálculos de Gropius, están presentes en la ampliación del Museo de Arte de Des Moines, la primera gran obra que Pei culminó en 1968. Con, atención, 51 años. Antes se había dedicado a ganarse la vida haciendo torres de hormigón en Nueva York y Filadelfia. Lo de Des Moines era buscar una voz propia.

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Pirámide del Louvre, en París

Fue en Iowa donde Pei tuvo su primera oportunidad de hablar con un edificio. Y no la desaprovechó: la utilizó para reconocer la obra de quien llegó antes que él: Eliel Saarinen —el padre de Eero había firmado el edificio original—, y para obedecer a la topografía del lugar. Su ampliación, desnuda y pulidamente brutalista —si es que eso es posible— cuenta una verdad mucho más directa que la que Richard Meier añadiría casi dos décadas después, cuando el autor del MACBA firmó una tercera ampliación con un edificio forrado de un acabado cerámico.

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El Museo de Arte Islámico de Doha, de I. M. Pei. MERTEN SNIJDERS (GETTY)

El Pei de Des Moines es el que ideó, en 1978, la ampliación de la National Gallery de Washington. El ala Este es ya un edificio inolvidable por lo cercano y monumental que resulta. Fue el proyecto que le allanó el camino para ampliar el Louvre muy poco después. François Mitterrand, el artífice de los grand travauxparisinos, llamó a Pei para mejorar el acceso al buque insignia de la cultura francesa. No hubo concurso, fue una visión del presidente de la República reconocido por su enorme cultura. Una foto de Pei sonriendo junto a un modelo a escala real de lo que iba a ser su famosa pirámide define el entendimiento entre los dos hombres. El arquitecto lo confió todo al clasicismo: el orden geométrico hablaría de tú a tú al orden histórico y bastaría para reordenar el antiguo palacio en torno a tres patios. Mitterrand nombró a dedo a un arquitecto capaz de construir la punta de un diamante. Esa gran obra fue tan polémica como transparente: tuvo muy poco que ver con los iconos que llegarían después. La pirámide por la que se accede al museo no es una escultura, es un trabajo de cirugía correctora en el Patio de Napoleón. No es la guinda del pastel, es la pala para servirlo.

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The Bank of China, Hong Kong

Pei construiría luego museos en Japón —Museo Miho en Koka de 1997— y en China —Museo Suzhou de 2006—, además del sorprendente Rock and Roll Hall of Fame en Cinicinnati, en 1995. Con todo, fue el último museo, el encargo para levantar el Museo de Arte Islámico de Doha, inaugurado en 2008, lo que lo llevaría de nuevo a arriesgar. Tenía ya 90 años y sabía poco de arte islámico. Quiso aprender. Viajó por el mundo para estudiar la arquitectura de sombras, desierto y celosías. Y optó por reducirla al clasicismo. Muchos cataríes hablan hoy de los ojos de una mujer tras un “niqab” para describir la fachada de un edificio que es una loa a la simetría. Si los ojos están, son anecdóticos. Hay luz, sombra, permanencia —en un país tradicionalmente nómada— y orden en la galería que, además, construye una de las fachadas de la capital. El riesgo está concentrado de nuevo en la ingeniería: la decisión de ganar terreno al mar indica también la posibilidad de distanciarse y mirarse desde fuera.

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Suzhou Art Museum

Más allá de firmar una ristra de museos que sirvieron para dibujar épocas —Pei ideó torres, cinco facultades para el MIT donde estudió y algunos de los rascacielos más bonitos del mundo—. El más brillante está en Hong Kong, donde se crio. Lo hizo para el banco de China que había dirigido su padre. El más difícil lo levantó en el centro de Boston: el John Hancock fue el primero de sus grandes riesgos: el doble panel reflectante que rinde homenaje, multiplicándola, a la vecina Iglesia de la Trinidad de Henry H. Richardson llegó a caerse en tantas ocasiones que Pei y sus socios pasaron por los juzgados durante toda una década. Se convirtió en un chiste. Pero hoy refleja el templo neorrománico de Richardson. En plena polémica, y en la misma ciudad, Jackie Kennedy echó una mano. Más que seducir, Pei sonreía. Era un hombre de ideas y conocimiento y eso convenció a la viuda más famosa del planeta que le confió el diseño de la biblioteca que llevaría el nombre de su difunto marido. El edificio no resultó inolvidable. El simbolismo del encargo sí. Se premiaba el riesgo y la educación. Frente a la idea rupturista de las vanguardias, la audacia puede ir de la mano del respeto. Eso demostró I. E. Pei, que, nacionalizado americano desde 1955, puso a todos sus hijos nombres chinos.

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National Gallery of Art, Washington, D.C.

Así, Pei fue un arquitecto moderno que quiso ser eterno, es decir, clásico. Pero fue, sobre todo, un proyectista de su tiempo: arriesgó para quedar fuera de tiempo. La paradoja es que, hacer lo mismo que él —si fuera posible— hoy no convertiría a nadie en arquitecto de nuestro tiempo. El riesgo es algo tan fundamental como indefinido, el tiempo lo redefine. Hoy las necesidades son otras y un arquitecto del siglo XXI no puede quedarse en la forma de la ciudad, los accesos impensables o la ampliación de la geografía, que hoy además se cuestiona. Intentar ser como I. M. Pei hoy sería intentar ser distinto. Copiarlo sería como escribir novelas por entregas. Un proyectista actual tiene que implicarse en ampliar la idea de ciudad. Debe hacer posible que la arquitectura construya y no destruya el planeta. Alguien con el talante de I. M. Pei sabría entenderlo.

Artículo de ANATXU ZABALBEASCOA

Carlo Ratti Lecture

Carlo Ratti Lecture “The Eyes of the City” at IAAC Lecture Series 2019

An architect and engineer by training, Carlo Ratti practices in Italy and teaches at the Massachusetts Institute of Technology, where he directs the Senseable City Lab. He graduated from the Politecnico di Torino and the École Nationale des Ponts et Chaussées in Paris, and later earned his MPhil and PhD at the University of Cambridge, UK.

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Carlo holds several patents and has co-authored over 250 publications. As well as being a regular contributor to the architecture magazine Domus and the Italian newspaper Il Sole 24 Ore, he has written for the BBC, La Stampa, Scientific American and The New York Times. His work has been exhibited worldwide at venues such as the Venice Biennale, the Design Museum Barcelona, the Science Museum in London, GAFTA in San Francisco, MoMA in New York and MAXXI in Rome.

Carlo has been featured in Esquire Magazine’s ‘2008 Best & Brightest’ list and in Thames & Hudson’s selection of ‘60 innovators’ shaping our creative future. In 2010 Blueprint Magazine included him as one of the ‘25 People Who Will Change the World of Design’, Forbes listed him as one of the ‘Names You Need To Know’ in 2011 and Fast Company named him as one of the ’50 Most Influential Designers in America’.

 

IAAC Lecture Series 2018/19

22nd of May 2019
Carlo Ratti
MIT Senseable City Lab / Carlo Ratti Associati / IAAC

The Eyes of the City

@ 19.30, IAAC Auditorium
Free and Open to the Public

Aldo Sollazzo Lecture at IAAC

IAAC Lecture Series 2018/19  Aldo Sollazzo

Aldo Sollazzo is a technologist, with expertise in robotics, manufacturing, and computational design. Master in Architectonic Design in 2007, Master in Advanced Architecture at IAAC in 2012, Fab Academy diploma in 2014 in the Fab Lab Barcelona.

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Since 2011 he is the director of Noumena, a company implementing innovative solutions in the fields of Robotics, 3D printing and Wearable Tech, where he’s leading a multidisciplinary team towards the definition of new design strategies informed by tech-driven applications. He is also the Director of Reshape – digital craft community, a distributed platform promoting cutting-edge ideas merging design and manufacturing.

Since 2015 he is Director of IAAC Global Summer School and faculty at Design by Data master in Paris. He is the director of the IAAC Master in Robotics and Advanced Construction, focused on the emerging design and market opportunities arising from novel robotic and advanced manufacturing systems.

This lecture will be also part of the 3rd Global IAAC Alumni Meeting taking place next May 17th at IAAC and other locations around the city as part of the Barcelona Architecture Week 2019.

IAAC Lecture Series 2018/19

17th of May 2019
Aldo Sollazzo
Noumena / IAAC

Decoded Paths

@ 19.30, IAAC Auditorium
Free and Open to the Public

SETMANA D’ARQUITECTURA DE BARCELONA. BARCELONA cares b

BARCELONA cares b: L’EIXAMPLE el pla de barcelona.

AxA ET CONVIDA A LA INAUGURACIÓ QUE TINDRÀ LLOC EL DIJOUS 9 DE MAIG A LES 19:00h. A L’HOTEL ALMA DE BARCELONA, EN EL MARC DE LA SETMANA D’ARQUITECTURA DE BARCELONA

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Arquitectes per l’Arquitectura organitza una mostra audiovisual sobre les diferents propostes urbanístiques alternatives o complementàries a l’Eixample de Barcelona
Per a la realització d’aquesta mostra en format audiovisual, es va organitzar una taula rodona entre quatre professionals de diferents trajectòries que varen debatre sobre els diferents plans urbanístics realitzats a l’Eixample de Barcelona des de mitjans del segle XIX. El vídeo resultant d’aquesta trobada destaca i contraposa les seves característiques, i els participants exposen arguments a favor o en contra, creant així un diàleg sobre quina ciutat podria haver sigut Barcelona, quina ciutat és ara, i cap a on es dirigeix. Els participants varen generar un debat ric, creant un context únic, que podrem visionar en aquest peça audiovisual, que neix amb l’objectiu d’anar més enllà de la divulgació, promovent un debat interessant sobre arquitectura, urbanisme i l’evolució de la ciutat de Barcelona, i pugui tenir un valor perdurable en el temps un cop acabada la Setmana d’Arquitectura, moment de la seva exhibició.
Taula rodona enregistrada amb Josep M. Montaner, Maria Rubert, Salvador Rueda i Joan Subirats, amb Joan Roig de moderador.

Comissariat de Francesc Martínez Cazorla
Es projectarà del 9 al 31 de maig, coincidint amb la Setmana d’Arquitectura de Barcelona, al hotel Alma de Barcelona, C/ Mallorca 271

INAGURACIÓ EL DIJOUS 9 DE MAIG A LES 19:00h. ENTRADA LLIURE

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