El proyecto reformula la relación de las habitaciones con el pasillo en una suerte de alcoba castellana traslucida. Estos dormitorios, compartimentados mediante grandes cristaleras, permiten abrirse generando un espacio continuo con el pasillo o bien cerrarse creando privacidad al desplegar cortinas opacas.

Un suelo de microcemento acentúa esta relación de continuidad de espacios que nos van conduciendo al ala “pública de la casa”. Un salón comedor conectado con la cocina con dos grandes balcones que permiten la entrada de luz.

An energy producing park, built with recycled materials. Park activities, cycle and pedestrian lanes coexist in harmony with yards for storage and the management of construction material.

The park around the building is also built with a very controlled budget, and its features are productive systems, rather than an expense.

The city's road work department material storage integrates with pedestrian and cycling routes. It is part of a European Interreg MP4 project: Making Places Profitable.

Water harvesting in two steps: the roof provides clean water for all the toilets, the workshops, and the vehicle cleaning point.

We propose a large ground floor, with three smaller specialized “houses” on top, linked by a roof garden.

There are three discreet “houses” on this elevated hedge landscape. The size of each of the volumes is equivalent to any of the neighboring houses. This minimizes the visual impact of the relatively large programme. A gate leads up the garden path to the houses directly from the street.

TSM3 combines the restoration of the ground floor of a 59,80 sqm terraced property in the centre of Madrid, and the construction of 2,5 new floors on top, with 154 sqm.

The design dematerializes the original construction into a flexible home-cum-office that can change anytime.

All the elements that define the living space are in a state of flux. The architecture does not seek to define and limit through fixed elements such as structures, walls or gaps, but rather through a series of devices producing actions or situations.

The building is constructed on top of an existing solid brick structure, with original 18th-century supporting walls, its ground floor being only half-accessible due to a right of use held by the neighbouring convent. Half the new building is cantilevered over the convent part, and supported by strikingly visible blue-painted steel beams. In the new floors there is not a single brick. The 10cm-thin metal floor slabs blend in with the joinery, providing greater lightness.

Each floor is divided in two large adaptable spaces either side of the stairs. The main installations are concentrated within a practicable central passage which allows wet areas to be added or removed depending on programme needs with no grey energy waste. The walls are finished with screw-on OSB panels to facilitate the transformation of the building and its technical services. All building materials are reusable.

TSM3 is designed for change and transformation. It is an unstable house. It will never be finished.

The building was conceived as a "place for meeting" by brutalist architect Alfons Hoppenbrouwers (1930-2001). The task now was to challenge the very concept of a cultural centre to the digital age, reorganize the spatial arrangement according to the renewed functions, update the technical elements for modern comfort, and at the same time re-introduce colour and life as originally intended by the respected Flemish architect.

In the master plan we can distinguish three parts: technical, creative and organizational. These parts are in mutual relation with each other, so that different parts of the plan can be executed over time in a coherent way, regardless of the order.

In this set-up also small ideas are important and can find support within the framework of the bigger master plan, in order not to be left aside.

Besides, the bigger scale cannot be forgotten: integration of greenery, parking area and landscape are described as well, all with the same coherence.

The master plan that we propose is definitely not a standard architectural plan that has been made up just by architects. On the contrary, it is the result of many workshops with local experts, Dilbekenaars, users of the building, staff, municipality...

The Academie MWD sits at a uniquely varied crossroads; South: the main square; North: Wolfsputten, a protected forest; West: CC Westrand, a Brutalist community centre; and East a series of quaint suburban villas.
Image and texture dematerialise the volume: the façade seems to blend into the forest.

We carefully modulate scale and form: the jagged edge of the roof mimics those of the homes across the street, growing gradually to the cantilevered auditorium at the other end, and rising up to look face to face towards the monumental volumes of CC Westrand.

The building changes dramatically as we move along the sidewalk; walking towards the forest, we see forest; walking towards the grey Westrand we see greys, whites and blue skies.

Looking straight into the façade, we see the colours of a painting by A. Hoppenbrouwers, the architect of neighbouring Westrand.

RMdP is the first C2C (Cradle to Cradle) building in France. A regenerator of a former factory, it is an economic, cultural and environmental activator.

The MdP (House of the Project) hosts meetings, exhibitions, calls for tender, as needed to reactivate the 1.000 Ha area into the circular economy.

It is also improving soil and air conditions, eating up the chemicals left over from former industrial activity.

There were no earthworks, using driven piles that may be recovered; the structure and façades are designed for disassembly and reuse.

Materials are biodegradable or recyclable, with zero harmful chemicals

Sanitation generates nutrients, with the chimneys of three dry toilets as a main feature of the façade.

Landscaping cleans the soil; the building feeds on clean energies, with controlled solar exposure and the principle of the thermal onion.

Technology reuse is easy, the designers call it “superfurniture”: mobile equipment units to provide a specific function to any space.

An old Madrid apartment becomes a place to live and work. The large available area is treated as a country plot, building a small house with a garden at one end, and leaving the rest as labor fields.

The house-shelter is built with lightweight and cheap materials, forming boxes that are stacked, juxtaposed or doubled, so that their interiors can be used according to precise functions.

In the fields of labor, the most subjective operation is carried out: the discovery of the landscape.

Scraping, smoothing, puffing, discovering episodes, traces, wounds, that appear before us in the distance. Distance of time: hand-painted papers a century and a half ago, overlays of different tastes, fashions, traces of different uses and ways of life. Distance in space: if we sit at a point in this open space, we have before us a panorama of episodes that invite us to approach. We get up called by a point of undefined colours, we want to see what it is, to feel its texture, its smell, to lose ourselves in its silhouettes. A sutured wound, a meeting between two times, a Pompeian red surrounded by a random mixture of vegetal, symbolic and geometric decorations. But, little by little, even the mouldy glue of the burlap was gaining our respect.

Its construction methods, low impact and low cost, minimize imports and create local industry with simple, lightweight and compact materials, mostly locally produced.

It is flexible, to adapt to changing uses over time without investing more resources.

The ground floor has an active program that offers pedestrians in transit a reading of its interior, which translates into an invitation to various levels of access.

The windows multiply the contact with the outside. Its depth in space increases the amount of information that can be displayed, allowing the random passer-by to occupy an intermediate place. They facilitate the transition between the free public space and the interior space for cultural exchange. In the other sense, the windows expand the activity, making the passers-by feel momentarily part of the event.

Between shelves full of books we suddenly come across stands where we can relax for a moment while charging the mobile or having a coffee from a machine. We propose corners, places of passage where to sit until class starts, steps from which to look, and maybe say hello; meet, talk.

Velvet curtains can block light when needed, work acoustically, and at the same time give this space a theatrical character. The decision to surround the auditorium with curtains, help us manage its size, give privacy to the bathrooms, hide screens, integrate the interpreter booth, camouflage the warehouse doors …

The stage has a door that leads to the library. The library can function as a backstage. The library window stand can function as a Green room before the concert, the musicians can practice in front of passersby, announcing their recital.

The configuration of the facade is used to create reading spaces around the windows, and storage space for books in the opaque parts. A continuous element is created along the facade that varies its shape according to a specific use, reading or storage.

The teaching system used by the teaching staff of the Cervantes Institute benefits from a circle arrangement of the students, with a free space in the center to organize conversation subgroups. We propose to mark the circle in the classrooms with an element of simple construction that also works acoustically due to its recycled felt overlay.