Dreamer

Muito bem Pedro. Parabéns pelo trabalho e pela sã atitude de o apresentar aqui no fórum desde o início. O local parece muito interessante e realmente o pior que podia acontecer era uma emolição completa da existência. Fiquei intrigado, como é que o teu cliente chega à casa? Tens ali um belo de um caminho de cabras fico à espera de mais imagens e dos desenvolvimentos :)

Casa A: Casa B:

Casas em Ibiza arquitectura: Eduardo Souto de Moura localização: Ibiza, Espanha promotor: Volker Eschmann Casa A: Casa B: THE ISLAND OF IBIZA Ibizan architecture, influenced by Phoenician, Roman and Moorish culture, has been attracting many travellers ever since the early 20th century. It was here that the architect Le Corbusier developed his scale of proportions “the modulor”. Josep Lluís Sert who designed the famous development Punta Martinet and Erwin Broner built landmark buildings on Ibiza. Rolf Blakstad and Philippe Rotthier developed their unique formal vocabulary that was influenced by Ibizan architecture. THE LOCATION The site is located in the quiet and unspoilt north of the island not far from the city of St.Eulalia. It is situated remote from major roads in a pine forest typical for Ibiza. The grounds are completely developed, have good accessibility (the airport is 30 minutes away) and are only 5 minutes from the lovely beach of Aqua Blanca. THE ARCHITECTURE The traditional Ibizan architectural style serves as a starting point for considerations of the design. For centuries this way of building has proven itself and has shaped the face of the island with its many, remotely scattered Fincas. To combine Ibizan tradition with contemporary architecture opens up a wide range of formal possibilities that result in a finely nuanced building with a strong character of its own. Also the materials used will allow the house to blend into its natural surroundings. THE PHILOSOPHY Integral to the philosophy of the design is the versatility and flexibility of the house whose rooms are able to adjust to different living situations. Rooms that open up to the grounds, light wells, roofed and shielded exteriors allow intelligent passages from interiors to exteriors. The building is engaged in a dialogue with its surrounding environment: As a sculptural intervention into the landscape it assimilates impulses from the surroundings reacts with gestures of its own. The principles of simplicity and clarity extends naturally to a sustainable energy management and situates itself in a tradition that unites local action with global responsibility. Link: http://www.volkereschmannprojects.com

"La buena arquitectura lleva implícito el ser sostenible" Autor de las viviendas del cineasta Manoel de Oliveira en Oporto y del futbolista Cristiano Ronaldo en Benavente (Portugal), Eduardo Souto de Moura es, para muchos arquitectos, el alumno aventajado de Álvaro Siza. Firmó el Estadio de Braga y parte del metro de Oporto. Y ahora, con un crematorio en Bruselas y viviendas en varias ciudades españolas, empieza a construir fuera de Portugal. Eduardo Souto de Moura (Oporto, 1952) fuma sin tregua y habla con tanto humor como lógica. Se muestra más descreído que entusiasta. Pero es el entusiasmo lo que le hace aceptar los proyectos para nuevas viviendas unifamiliares aunque no le salgan las cuentas. Explica que, desaparecida la coherencia o la reivindicación de lo autóctono, vivimos en una época en la que se le puede pedir poco sentido a la arquitectura más allá del buen gusto. Y se declara en contra del tuneado que adorna tanta arquitectura actual. PREGUNTA. En qué beneficia y en qué perjudica a la arquitectura el retraso tecnológico que sufre su país, Portugal? RESPUESTA. Le perjudica la palabra misma: ir retrasado no es una buena presentación. La ventaja es que al llegar tarde, se puede tratar de evitar los errores que otros han cometido. Hace unos días vi las fotografías aéreas de Málaga que publicaba EL PAÍS. Impresionaban. Hace poco me pidieron que hiciera allí una torre. Y uno puede pensar que un rascacielos es más especulativo que una casa. Sin embargo, cuando vi las fotos pensé ¡al menos un rascacielos deja libre el suelo! P. El low tech tiene también un lado bueno y otro malo? R. Antes había buena mano de obra en Portugal. Y eso permitía una arquitectura artesanal y conectada con la tradición que Távora y Siza desarrollaron mucho. Ahora los buenos artesanos se han ido a Suiza, donde les pagan como a artistas. Sin embargo, la prefabricación sigue siendo más cara en Portugal que la construcción tradicional. Eso hace que ante un nuevo proyecto uno se plantee como posible cualquier material. En Portugal no se da hoy un material lógico ni perfecto. P. Y eso qué resultado da? R. Ahora mismo he empezado a construir el centro cultural de un poeta, Miguel Torga, cerca del Duero. Quería trabajar con la piedra del lugar, pizarra. Pero resultaba caro. Consideré un prefabricado negro, como la pizarra, hormigón negro o incluso una cerámica gris plateada. Al final, lo que decide entre todas las opciones posibles es el precio. La tradición que consideraba lógico trabajar con el material local ha desaparecido. Hoy la piedra local puede costar el doble que un material similar importado de China. Y la atmósfera local se puede lograr igualmente con materiales similares que no sean autóctonos. La cuestión de los materiales locales ha quedado desmitificada. P. Que los materiales hablan el idioma del lugar es una patraña? R. No hay nada más caro que la ecología. Sólo los suizos pueden ser ecológicos. Uno que construye allí un edificio está obligado a instalar un sistema que trate y recicle las aguas grises del baño. Pero preparar un edificio para acumular las aguas grises, bombearlas, depurarlas y reciclarlas es muy poco sostenible, consume una cantidad de energía brutal. No tiene sentido. Esta preocupación sólo la puede tener Suiza. P. Piensa que la sostenibilidad es un problema de ricos? R. Es un problema de malos arquitectos. Los malos arquitectos se organizan siempre con temas secundarios. Dicen cosas del tipo: la arquitectura es sociología, es lenguaje, semántica, semiótica. Inventan la arquitectura inteligente -como si el Partenón fuese estúpido- y ahora, lo último es la arquitectura sostenible. Todo eso son complejos de la mala arquitectura. La arquitectura no tiene que ser sostenible. La arquitectura, para ser buena, lleva implícito el ser sostenible. Nunca puede haber una buena arquitectura estúpida. Un edificio en cuyo interior la gente muere de calor, por más elegante que sea será un fracaso. La preocupación por la sostenibilidad delata mediocridad. No se puede aplaudir un edificio porque sea sostenible. Sería como aplaudirlo porque se aguanta. P. Desmitifica también la arquitectura vernácula? R. Hoy es como comprar un suéter de cachemir. No estoy en contra, me gusta. Como prenda aislada está bien. Pero no es una operación generalizable. Lo mismo sucede con la arquitectura vernácula. Hoy una casa en piedra es un lujo. Y hacer un pastiche forrando con piedra es pretencioso. Simular las cosas no es vernáculo. P. A pesar de que han construido fuera de Portugal, a usted y a Siza cuesta verlos lejos de su contexto. Cómo se siente cuando trabaja fuera? R. Siza nunca ha salido de Portugal. Ha viajado mucho, pero no ha dejado de ser nunca un portugués de viaje. Sus proyectos son de allí. Es como los astronautas, que viajan por el espacio y se preparan durante años para hacerlo. Pero al final, lo que les gusta a los astronautas es volver a casa. Siza viaja mucho, pero siempre es un portugués. Y a mí me pasa algo parecido. Eso quiere decir que para nosotros estar fuera es una excepción. P. Empezó siendo muy miesiano, cartesiano. Y en sus últimas viviendas parece haberse soltado. Qué le ha hecho cambiar? R. Hay dos cambios. Uno es el de una nueva escala. Yo tenía una caligrafía miesiana que podía servir bien para las casas de un piso. Pero si uno llega a una escala urbana, esa caligrafía deja de servir. Hay que adaptarse al nuevo medio y buscar otro tipo. Eso me ha sucedido haciendo el metro de Oporto o cuando trabajé en el Estadio de Braga. Es imposible abordar esos proyectos con una arquitectura rectilínea. Ese cambio de escala me abrió la mente. Me hizo pensar de otra manera. P. La escala cambia a los arquitectos? R. Y la edad. Cuando era más joven estaba preocupado por el estilo, por la elegancia. Y hoy valoro más la naturalidad. Para poder resistir, para que los edificios permanezcan, es importante que las cosas se vivan como naturales. Un poco como ocurre con los animales, que cuando nadan mucho pierden las manos que se transforman en aletas. La naturaleza responde siempre de la manera más natural, con lógica. Y creo que antes yo hacía una arquitectura muy preocupada por ser coherente y que, sin embargo, respondía a un campo muy limitado de la realidad. Hoy he ido perdiendo el miedo a hacer cosas feas. No es que nadie quiera hacer algo feo de entrada. Es que para hacer cosas bonitas hay que perder el miedo a hacerlas feas. Link: http://www.elpais.com/articulo/arte/buena/arquitectura/lleva/implicito/ser/sostenible/elpepuculbab/20070630elpbabart_9/Tes

2Inns (twins), a casa convertível arquitectura: Sebastián Mariscal localização: La Jolla, Califórnia, EUA ano: 2006 fotografia: Hisao Suzuki desenhos (implantação, plantas dos pisos, alçados) Link: http://www.sebastianmariscal.com/

Imagens Flirk: Galeria de soulellis

New Parrish Art Museum arquitectura: Herzog & de Meuron localização: Long Island, NY, EUA cliente: Parrish Art Museum ano de projecto: 2007 esquema plantas (implantação, piso 0) Mais informação: http://www.archleague.org/index-dynamic.php?show=759 Entrevistas a Ascan Mergenthaler (Partner in Charge Herzog & de Meuron), Douglas Reed (Principal Reed Hilderbrand Associates) e Terrie Sultan (Director Parrish Art Museum): http://www.archleague.org/index-dynamic.php?show=744

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Renovação do Mercado de Santa Catarina arquitectura: Enric Miralles / Benedetta Tagliabue EMBT localização: Barcelona, Espanha cliente: Foment de Ciutat Vella S.A colaboradores: Elena Rocchi, Makoto Fukuda, Ricardo Flores, Fabian Asunción, German Zambrana, Lluis Cantallops, Anna Maria Tosi, Marc Forteza Parera, Anna Galmer, Liliana Bonforte, Tobias Gottschalk, Stefan Eckert, Ute Grölz, Thomas Wuttke, Luca Tonella, Stéphanie Le Draoullec, Monica Carrera estrutura: Robert Brufau cobertura: Jose María Velaso ano de projecto: 1997 conclusão da construção: 2005 construtor: COMSA Empresa Constructors Ciutat Vella, unlike other quarters of Barcelona, is a city in itself… this city within a city seems to be the main feature of historical centers starting from this point everything gets complicated. The present planning is unable to manage the complexity of the situation. and looking for short-term results, has unbearably limited the rules of the game. To repeat. To make it again. The project must not exsist in a particular moment in time, but in inhabiting it. Our projects starts by criticising the actual planning and proposes a model that allows for adaption to the area's complexity. Planning rules which contemplate something more than the street width and the building height. A first scheme which allows for the development of the city complexity and which complies with the commitments undertaken. We propose a model in which it is not so easy to distinguish between rehabilitation and new construction. Where the squares, the constant drawing of widenings overflying the street as the only urban mechanism. The shopping points decrease, rationalizing the access and services systems. Creating public space, and residential density. We move the shopping area to Avenida Cambó, reducing its section, opening the old Market construction to the heart of Santa Caterina quarter. Link: http://www.mirallestagliabue.com http://www.mercatsantacaterina.net/ GoogleEarth:

Mimetic House arquitectura: Dominic Stevens localização: Dromahair, Irlanda cliente: Grace Weir & Joe Walker conclusão da construção: 2006 fotografia: Ros Kavanagh e anónimos esquema The Mimetic House, Dromahair, Ireland Every architect (well, almost) wants his design to be part, as much as possible, or feasible, with the environment, particularly if the edifice to be designed and built lies in the middle of a natural habitat, outside rural and industrial areas. Dominic Stevens has done just that: He incorporates the building so much into the environment, that you blink and miss it. This is the Mimetic House. Dominic Stevens is not your usual architect. He does no more than one or two projects per year, he is a farmer (breeding goats, chicken and geese and produces cheese) and also does not think twice about doing carpentry work on-site during building phase of his projects. It goes without saying then that his buildings will not be your run-of-the-mill modern towers of self promotion. The Mimetic House is build in the village of Dromahair in CountyLeitrim in Ireland. the owners, Grace Weir and Jo Walzer are both conceptual artists-no surprise! The site is a lush green plateau (after all, this is Ireland), with a small valley that the house is placed on top of. The cladding material is sheets of glass, alternating with reflective panels. Along with the grass roof, it manages to imitate the surrounding countryside: in broad daylight it is hardly discernible from the nearby bushes and blades of grass. Only during the night, it becomes most visible, when the lights come on. The entrance is not very visible either. Dominic Stevens has cut into the slope below to make it out of the hillside. All bedrooms, bathroom and cloakroom are dug out of the earth-so you have to enter through the ground, to rise above into nature and light, into the white interiors of the living room-with an inclination outwards, it is a space outside our classic living room notion. The inclination of the walls means that the ground, not the sky, is reflected. The use of recycled materials is ubiquitous: the retaining wall is made of car tyres. The house is thus made part of the landscape, reflecting it and changing with it, season after season. It won an AAI (Architectural Association of Ireland) award this year for architectural excellence. It was designed and built as part of research undertaken under the auspices of the Arts Council / Office of Public Works Kevin Kieran Award 2005-07. It is also consistent with Stevens’ own thesis to make architecture affordable to all – a house built for the same cost as a typical one-off Irish bungalow. Link: http://dominicstevensarchitect.net/ segundo o link, o site está em (muito lenta) construção. Artigo: http://2modern.blogs.com/2modern/2007/07/the-mimetic-hou.html GoogleEarth:

O prazo é apertado (até 10 de Outubro), mas era bom se alguém conseguisse lá ir tirar umas fotos dos restantes candidatos.

Já tinha visto plantas feitas em word e com as suas "completíssimas" ferramentas de desenho. No Excel também, mas nunca assim, apenas tinha visto com as células coloridas... Tenho a dizer uma coisa, fantástico darem-se ao trbalho de desenhar uma planta completa em Excel e com essa qualidade de traço...

'Not manly enough': Berlusconi's verdict on Libeskind work </EM> By Arifa Akbar, Arts Correspondent Monday, 7 July 2008 Daniel Libeskind was not impressed with Silvio Berlusconi's opinion of his design for a new tower in the heart of Milan Perhaps, when the architect Daniel Libeskind produced his grand plans for an art museum and office tower designed to inspire civic pride in the heart of Milan, he should not have been surprised when Italy's gaffe-prone Prime Minister, Silvio Berlusconi, said the bent structure emanated a "sense of impotence" because it is not manly enough. But Libeskind, an American born in Poland, was so outraged that he accused Mr Berlusconi of being a xenophobe who proffers "repugnant" politics, according to the The Art Newspaper. The war of words culminated in the premier's latest threat this month to withdraw planning permission for the museum. The spat began when Mr Berlusconi made an off-the-cuff remark about Libeskind's design for the tower, part of the Fiera Milano site. The skyscraper, intended to be situated between buildings designed by the British architect Zaha Hadid and her Japanese colleague Arata Isozaki, curves dramatically, a feature that displeased Mr Berlusconi. Speaking to the Italian newspaper Corriere della Sera, he expressed his chagrin through a series of light-hearted, sexual allusions. The writer Umberto Eco weighed in support of Berlusconi's words saying: "Milan is full of people with crooked members. There will simply be one more in need of Viagra." Critics of the design hoped that the Italian Prime Minister's intervention might prompt Libeskind to straighten up his design a little. But the award-winning architect, who designed Manchester's Imperial War Museum, the Jewish Museum in Berlin and a new building in Manhattan at the site of the World Trade Centre, hit back in an interview with the same newspaper by comparing Mr Berlusconi's aversion with Fascist ideology. "In Fascist Italy, everything that was not 'straight' was considered 'perverse art'," said Libeskind. "My tower is inspired by the work of Leonardo da Vinci, and great Italian culture. [Mr Berlusconi] does not have the time or intellect to study these. "As an American and Jew brought up in Poland, I find Berlusconi abominable. His concept of nationalism, of closing borders and denying what's different, is repugnant. He hates foreigners." Some speculate that the Prime Minister might reconsider the planning permission. Vittorio Sgarbi, a former culture adviser to the city of Milan, told the Italian periodical Il Giornale dell'Arte: "I don't think the Prime Minister will let him proceed with his skyscraper or his museum unless he apologises." A spokeswoman for the Fiera Milano developers said she believed the project was still "on track". It is not the first time hat Mr Berlusconi’s loose tongue has made him enemies. At the start of Italy’s EU presidency in 2003, he told a German MEP he would be perfect for a film role as a Nazi camp guard, while at the launch of his 2006 election campaign he angered Catholics by comparing himself to Jesus. And in the wake of 9/11, he suggested Islam was a backward religion that might have to be “conquered” by the West. Libeskind: Berlusconi's 'concept of nationalism, of closing borders and denying what's different, is repugnant' ...and other great works by the visionary American JEWISH MUSEUM, BERLIN Libeskind said the deaths of some of his relatives in the Holocaust made him an ideal candidate to design the Berlin museum, which opened in 2001. Its lightning bolt design was intended to “integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city”. IMPERIAL WAR MUSEUM, MANCHESTER Intended to represent a “globe shattered into fragments”, the museum opened in 2002 and is made up of three interlocking shards designed to embody earth, air and water. Libeskind says on his website that the structure constitutes “an iconic emblem of conflict”. GROUND ZERO, NEW YORK New York city planners turned to Libeskind to regenerate Ground Zero following the al-Qa’ida terror attacks of 11 September, 2001. Due to be completed by 2015, his designs include the 1,776ft Freedom Tower, a visitor centre, an underground museum and four office blocks in a spiral. BAR-ILAN UNIVERSITY, RAMAT GAN, ISRAEL Drawing on his Jewish heritage, Libeskind designed the university’s Wohl Centre, which was completed in 2005. The building contains a 1,000-seat cantilevered auditorium and its jagged form is designed to resemble an open book. The exterior is mostly clad in lacquered golden aluminium sheets. LONDON METROPOLITAN UNIVERSITY Inspired by the Orion constellation, the university’s new graduate centre was opened in 2004. Three dramatically intersecting blocks clad in stainless steel form a gateway to the campus on Holloway Road. Libeskind says the structure acts as a “magnet” to the university. ALASTAIR BEACH Link: http://www.independent.co.uk/arts-entertainment/art-and-architecture/news/not-manly-enough-berlusconis-verdict-on-libeskind-work-861252.html

Quando acabou a primeira fase de selecção, estava por Lisboa e fui com uma pessoa levantar o trabalho dela. Os que tinham sido eliminados estavam todos amontuados e enquanto estiveram à procura do dela, tive a oportunidade de ver de relance alguns desses que foram eliminados. Agora a olhar para o vencedor, vieram-me à memória imagens de uns quantos que lá estavam com um grafismo muito semelhante a este. Fico à espera do anúncio do manual de normas para tentar perceber melhor o conceito por trás do logotipo.

Já vi a notícia no site da ordem. Assim à primeira vista não me identifico muito...

Baldini, onde encontraste essa imagem? Já foi feito o anúncio? Gostava de saber mais informação antes de me pronunciar.

Capela no lago Rupanco arquitectura: F3 arquitectos design: Alejandro Dumay, Nicolás Fones, Francisco Vergara localização: Lago Rupanco, Chile construção: 2006 área de construção: 20,00m² Link: http://www.ftres.cl

Para mais imagens podem consultar os site do fotógrafo Thomas Mayer: http://thomasmayerarchive.de/categories.php?cat_id=1325&sessionid=401b10732c86f86484d1407ecb1b124f&l=english

A Saint and an Architect The votive chapel dedicated to Saint Niklaus von Flüe rises from the flat farmland of the Eifel region in western Germany. Two Swiss (a saint called Bruder Klaus and the architect Peter Zumthor) and a German farmer (the project’s commissioner) converge in the construction of a universal piece of architecture for meditation. Design by Peter Zumthor. Text by Stefano Casciani. Photos by Pietro Savorelli. Peter Zumthor is sitting at 550 metres above sea level in the quiet of his stube (the most beautiful one I’ve even seen) as rain pours down on Haldenstein towards the end of June. There is no truth to the legend of him living the life of a stylite on top of a Swiss peak as he emits sensual oracles of stone and cement that define the condition of architecture. Between his office and his home/office, he smiles, listens, plays music and receives friends. He is preparing for projects and buildings that are bigger (if not more important) than the concentrated, distilled pieces of textural architecture he has produced over the extended amounts of time it takes for work to become art. A plan sketch by Zumthor Entrance The excuse for our meeting is the votive chapel dedicated to Saint Niklaus von Flüe (better known as Bruder Klaus) that he recently finished in Mechernich, Germany. The building is an ex-voto project commissioned by a farmer who is still alive many years after being diagnosed with heart disease. Marcel Duchamp said that plumbing is the only difference between sculpture and architecture, and in this tower/chapel plumbing is just about absent. The top of the tower is open, so it rains inside. After collecting on the floor a bit, the water slowly, naturally flows away – another reason to call it a sculpture. A very large sculpture that you can enter to pray or simply meditate on your existence, or on that of Bruder Klaus – aka Saint Nicholas, the patron saint of Switzerland. He was a peasant and a soldier who fought as an officer in the victorious wars of the Confederates against the counts of Habsburg around 600 years ago. He got married and had ten children, only to be persuaded by a priest named Heimo am Grund (which in German and Schwiizerduutsch refers to “home” and “ground”) to go into solitary retreat. After requesting and obtaining permission from his wife Dorotea, Bruder Klaus went off to live, and die, in a ravine, in a crevasse. The only Swiss crevasse I remember seeing is the Viamala Schlucht. Touristy perhaps, but in addition to its terrifying name it inspires fear for the fact that the bottom cannot be seen from above. It scares you to death, like the unknown, like what is to come but has not yet been revealed. Yet Zumthor did not think of these things in this project. The 112 tree trunks that were used for the wigwam-like structure were taken from a wood belonging to the client. The trunks were then positioned in a cone shape, leaving an oculus at the top. Concrete was poured onto the wooden structure at the rate of one level per day, making 24 layers for a total height of 12 metres. At the end, the wood formwork was burnt out. Rain falls inside the Chapel through the opening in the roof and collects in a sunken basin. “After we built the Chapel, a few Swiss people came to me and said, ‘Of course this dark emptiness with only a few strips of light comes from the fact that Bruder Klaus’s life ended in a cell dug into the rock!’ And I said, ‘No, that’s not the reason.’ And they said, ‘Oh, well then it’s like a tower in reference to Bruder Klaus’s career as a soldier!’ And I said, ‘No, that’s not why, I wasn’t thinking of that.’ Rather I was thinking that it would be important for the Chapel to rise up vertically in order to stand out from afar against the open, level fields with their few undulations. It needed to mark out its territory.” “And what about this circular plan inside, and the cusp-shaped exterior? Doesn’t that have to do with the wheel of Saint Nicholas, the symbol he meditated upon daily?” “No, it’s not related to that”. Ground floor plan Zumthor smiles. Of course it happens that an author writes, paints or builds things that he doesn’t know about, hasn’t seen or heard of, but that are still worth one, three or ten different interpretations. But not because he spent days and weeks studying symbols and symbolism. It makes it better, more interesting, unless you’re not prepared to believe in premonitions, visions, and the poet as a prophet. The only vision that Zumthor believes in is that of architecture. The only language his buildings speak is that of their construction and materials. The hours of the day and the sleepless nights of Bruder Klaus have nothing to do with the 24 visible layers of cement that were applied and compressed by hand on top of a structure made of branches and treetrunks that would later be burnt, leaving its dark mark and intense odour of charcoal inside forever. The layers of cement are 24 because that’s the number of days it took the commissioner and his helpers to make them. Cross Section Long Section And then: what “expert” would not see Gaudí in this rugged vertical appearance, in the convergence of its walls way up high, in the small marks of light in its cement? Yet Zumthor is no mystic, he’s not like his Catalan colleague who some would like to see canonised, he’s not like Bruder Klaus. He laughs when I ask if it bothers him that people consider him to be a mystic. “Those are just things they’d like to write in the press.” Even so, he did not want to be paid for this project. Even so, his Kolumba Museum in Cologne is about to be inaugurated: a cement castle for contemporary art built on top of religious ruins. Even so, Norman Foster wants him to build the church for the Santa Giulia development outside Milan. Zumthor smiles. He, the layman saint of absolute architecture. Link: domus magazine online

Fantástico o que se faz por cá... só se for para economizar na tinta...

Bibliometro de Madrid arquitectura: Paredes Pedrosa arquitectos local: diferentes estações de metro de Madrid, Espanha cliente: Município de Madrid design: Angela Garcia de Paredes e Ignacio G. Pedrosa engenharia: Luis Calvo área de construção 14,00m² custos: 289.625,00€ (4 unidades) projecto: 2004 fotografia: Aurofoto Bibliometro é um conceito de biblioteca pública em stands, nas estações do metro de Madrid, no qual os passageiros podem levantar livros e deposita-los em qualquer outra estação. Este conceito pretende fazer circular a cultura pelos subterrâneos de Madrid, tornando a leitura num acto comum para milhões de passageiros diariamente. Os pequenos pavilhões de aproximadamente 7,80x2,50m são colocados nas zonas de circulação. A sua forma sinuosa adapta-se ao movimento dos passageiros. São construídos em vidro translúcido iluminado que permite que os livros sejam visíveis a partir do exterior. No exterior os passageiros têm acesso aos locais onde os livros são apresentados, ao balcão onde os livros são levantados e à caixa onde são depositados. Link: http://www.paredespedrosa.com/

plantas (implantação, piso 0, piso 1, anel de betão) cortes (c-c´,e-e´,g-g´) assentamento da fachada ao longo da elipse