MARINA LÓPEZ SÁNCHEZ WORKS 2012-2015

NAME Marina López SánchezD.O.B 06/08/1992NATIONALITY SpanishTELEPHONE + 34 678 78 67 93E-MAIL marina.lop.san@hotmail.com

Undergraduate student.

2010 - CURRENT : Architecture Degree E.T.SA (Escuela Técnica Superior de Arquitectura) in Sevilla (SPAIN).

2014 - 2015: Fifth year of degree - Erasmus programme Master Programme "Urban proyects, urban cultures" at KU LEUVEN Sint-Lucas Campus Brussels.

It has been five years since I met Architecture. I have been always very proud of myself because of having choosen it as my future occupation and also as my ,since that moment , way of observing the world. After years dealing with it in the Facultyof Architecture in Sevilla (Spain), it was the moment of looking for something new. That´s why I am in Brussels now in the firstyear of the international Master "Urban proyects, Urban cultures" at Ku Leuven. Currently, I am looking for practices in a studio here in Belgium during the summer period initially, to continue with this experience of sharing, discovering, striving and learning.

What can I offer to your studio?

Working in groups since the firsts moments, which can be considered as little studios sometimes, I consider myself organizer, beingable to take decisions and leading a team. Sevilla gave me a techical approach in my projects so I am able to deal with technical drawings. I have been always very concerned about graphic, putting always considerable effort in giving expressiveness an character in my drawings. But ,actually, I think that my best quality is that I am really motivated, I do want to work, to improveby working and to contribute with my work to your studio.

SPANISH - NativeENGLISH - Fluent (C1 Level)

AutoCad - AdvancedAdobe Photoshop, Adobe Illustrator - AdvancedAdobe Indesign - GoodMs Office - Advanced

Housing community in Bellinzona (Switzerland) Pabillion in Park María Luisa (Sevilla)

Gradient Block in North KoreaTheatre in Cologne (Germany)

Pabillion in Park María Luisa (Sevilla) New Fire Station in the former San Bernardo Train Station (Sevilla) New Market in the former Real Artillery Factory (Sevilla)

Gradient Block in North Korea Urban renovation in the neigbourhood of "Parque Alcosa" (Sevilla)

Undergraduate student.

2010 - CURRENT : Architecture Degree E.T.SA (Escuela Técnica Superior de Arquitectura) in Sevilla (SPAIN).

2014 - 2015: Fifth year of degree - Erasmus programme Master Programme "Urban proyects, urban cultures" at KU LEUVEN Sint-Lucas Campus Brussels.

It has been five years since I met Architecture. I have been always very proud of myself because of having choosen it as my future occupation and also as my ,since that moment , way of observing the world. After years dealing with it in the Facultyof Architecture in Sevilla (Spain), it was the moment of looking for something new. That´s why I am in Brussels now in the firstyear of the international Master "Urban proyects, Urban cultures" at Ku Leuven. Currently, I am looking for practices in a studio here in Belgium during the summer period initially, to continue with this experience of sharing, discovering, striving and learning.

What can I offer to your studio?

Working in groups since the firsts moments, which can be considered as little studios sometimes, I consider myself organizer, beingable to take decisions and leading a team. Sevilla gave me a techical approach in my projects so I am able to deal with technical drawings. I have been always very concerned about graphic, putting always considerable effort in giving expressiveness an character in my drawings. But ,actually, I think that my best quality is that I am really motivated, I do want to work, to improveby working and to contribute with my work to your studio.

SPANISH - NativeENGLISH - Fluent (C1 Level)

AutoCad - AdvancedAdobe Photoshop, Adobe Illustrator - AdvancedAdobe Indesign - GoodMs Office - Advanced

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The nature is not absorbed by Bellinzona. Despite being inhabited, green seems to keep intact. Everything built seems to place on a esplanade without breaking the scene. The river stretches along the city and, following this marked direction, the proyect appears, looking for the nature in all of its hollows.Built and open spaces, common green areas, private gardens, promenades..everything is connected and creates a common scenery.All of these spaces mark strongly the landscape of Bellinzona but inside the proyect, the different elements seem to slide one another without difficulty, allowing the permeability of every element.So we are also talking about INTERVALS, sequences of feelings and emotions that make this architecture a filter between city and nature.

La naturaleza no se absorbe en Bellinzona, sino que se habita. Lo construido parece posarse sobre una explanada verde sin romper la escena. El río se extiende a lo largo de la ciudad y siguiendo su marcada dirección surge el proyecto, que busca a la naturaleza en todos sus huecos. Espacios edificados, libres, zonas verdes comunes, privadas, espacios de paseo, jardines..todos ellos se enlazan y forman un paisaje común. Un trazado donde lo construido y el vacio imprimen fuertemente el espacio, deslizándose y permitiendo la permeabilidad de cada elemento.No solo los edificios construyen la escena sino también sus INTERVALOS, secuencias de impresiones y emociones que convierten a la arquitectura en un filtro entre ciudad y naturaleza.

PABILLION IN PARK MARÍA LUISA (SEVILLA)NAME OF THE COURSE "SMALL EQUIPMENT". THIRD COURSE.

The project is situated in the park María Luisa, a green space with a great importance for the city of Sevilla. The challenge of this proposal consists on creating an intervention sensitive in regards to pre-existent, that is a proyect which respects the park and its elements, being concerned about maintaining and even strengthening previous connections.The proposal is totally adapted to the park: the road strains the stone wall and the nature is introduced into the layout, to the point of trees being part of the building by crossing it.The relationship between the proyect and the park wants to be so strong that the limit between inside-outside is not clear : the activities that will take place here are going to have the building as the starting point but they could spread themselves along the park. The project wants to be the very opposite of an introverted and rigid building : Photography and painting workshops allow different configurations and even the transformation into a unique exhibition space. The project appears in the park as a light object which seems to land on the ground. The stone wall works as a backbone for the building, absorbing all the installations , so in this way it can be perceived as a clean, continous space in the horizontal plane.

Nos encontramos en el Parque María Luisa, un espacio verde de gran importancia para la ciudad de Sevilla. El fundamento de la propuesta será crear una intervención sensible con lo preexistente, que respete al parque y a sus elementos, que se preocupe por mantener e incluso potenciar las relaciones y vínculos ya establecidos. Nuestra propuesta se adapta al parque: el muro vertebrador se tensiona con el camino y el verde del parque se introduce en el interior del edificio ,hasta el punto de que los propios árboles que se encuentra lo atraviesan y pasan a formar parte de él.La relación intervención - parque busca ser tan intensa que no existe un límite claro entre interior y exterior. Las acciones que van a tener lugar tienen como punto de partida los talleres pero van a extenderse a lo largo del parque. El proyecto no busca desarro-llarse en sí mismo, sino con y para el parque. Los talleres de pintura y fotografía , que permiten distintas configuraciones e incluso la transformación en un único espacio expositivo, se presentan al parque como una pieza ligera, que parece posarse sobre él y que intenta mimetizarse gracias a los tonos y texturas que aportan sus materiales. El muro, columna vertebral del proyecto, absorbe todos los elementos de instalaciones y permite así la continuidad de la intervención en el plano horizontal.

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The project of this scenic space is situated in Cologne (Germany). Building an equipment which such characteristics means a relevant event for the whole city, and it also implies the urban reconfigura-tion of the complete area. Refering to the formal and functional way, the theatre consists on three volumes clearly distinguishable. The building works as a group of pieces complementaries to one another, where different types of relations are going to take place constantly. First of all, we have the scenic box, practically hermetic, which shows to the outside the magnamity of what is happening inside it. This is the point cero, the origin from which take place everything else. The second volume works like an annex for the scenic box. This piece supports all the processes which have to do with the main activity, the theatrical performance. The staff area let public sense what is happening inside without showing it explicitly. The third volume has been created for the spectator, and it is a monu-mental space which envolves anyone inside it. If offers a clear dialogue with the contiguous volume making it the protagonist in all its course. This volume ends in a triple-height space which resolves the access to the scenic box. Formally, the firmness of the concrete dialogues with the transparency of the glass. The changeable texture of the copper offers a wide range of shines and shades of its red tone, depending on the light striking the surface of the scenic box.

El proyecto de este espacio escénico se sitúa en Colonia (Alemania) . La construcción de un edificio de tales características supone un acontecimiento relevante para toda la ciudad, y lleva consigo la reconfiguración urbana de toda la zona.El teatro se compone de tres cuerpos claramente identificables, tanto funcional como formal-mente. El edificio se concibe como un conjunto de volúmenes complementarios, donde van a producirse constantemente distintas relaciones entre ellos . El primero de ellos es la caja escénica, concebida como el punto cero, el lugar de origen a partir del cual tiene lugar todo lo demás. Este primer volúmen, prácticamente hermético, se muestra como un elemento contun-dente, que muestra al exterior la grandeza de lo que ocurre dentro.El segundo volúmen constituye un anexo que soporta todas las actividades que se han de producir en torno a la actividad central. Es la zona de personal, que se apoya en la caja escéni-ca y deja intuir al público lo que está ocurriendo en ella sin mostrarlo explícitamente.El tercer volúmen es el creado para el espectador, y es un espacio que requiere de una monu-mentalidad que envuelva a aquel que se encuentre en él. Ofrece un diálogo claro con el volúmen adyacente haciéndolo protagonista en todo el recorrido, y desemboca en un espacio de triple altura que resuelve el acceso a la caja escénica. Formalmente, la firmeza del hormigón dialoga con la transparencia del vidrio .La textura cambiante del cobre ofrecerá una amplia gama de brillos y matices de su tono rojizo en función de la luz que incida sobre la caja.

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The project is situated in Kaesong, considered the cultural capital of North Korea. Moreover, due to the proximity to the border with South Korea, Kaesong has an important position in the context we are going to work in. The aim of this project is to genera-te an architecture capable of dealing with the change of system in people lifestyle if we considered reunification as a possibility in a close future. The complexity of the re-unified Korean society needs to be controlled in order to find a new balance between opposite ways of living. We studied the actual logic of space in the traditional Hanok neighbourhood of Kaesong in order to understand how people nowadays get in contact. Even if all the properties are today of public ownership, we discovered a dinamic structure that links spaces and people at the local scale. The actual logic of space in the traditional Hanok fabric is based on a complex and diversified system of living spaces, linked together in a gradient between what is collective and what is intimate. Our goal is to apply this logic to new reconverted buildings not only the social needs but also to understad what is missing in the actual Hanok situation. Having taken in consideration the Hanok as the main indicator of people lifestyle, the challenge now is to translate this logic in a “vertical neighbourhood”. We have imagined a building which can be a neuralgical point for Kaesong citizens and at the same time a connector between the Hanok neighbourhood and public life.

Hanok Graduality system

The project is situated in Kaesong, considered the cultural capital of North Korea. Moreover, due to the proximity to the border with South Korea, Kaesong has an important position in the context we are going to work in. The aim of this project is to genera-te an architecture capable of dealing with the change of system in people lifestyle if we considered reunification as a possibility in a close future. The complexity of the re-unified Korean society needs to be controlled in order to find a new balance between opposite ways of living. We studied the actual logic of space in the traditional Hanok neighbourhood of Kaesong in order to understand how people nowadays get in contact. Even if all the properties are today of public ownership, we discovered a dinamic structure that links spaces and people at the local scale. The actual logic of space in the traditional Hanok fabric is based on a complex and diversified system of living spaces, linked together in a gradient between what is collective and what is intimate. Our goal is to apply this logic to new reconverted buildings not only the social needs but also to understad what is missing in the actual Hanok situation. Having taken in consideration the Hanok as the main indicator of people lifestyle, the challenge now is to translate this logic in a “vertical neighbourhood”. We have imagined a building which can be a neuralgical point for Kaesong citizens and at the same time a connector between the Hanok neighbourhood and public life.

Hanok Graduality system

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The project consists on a new fire station for the city of Sevilla in the former San Bernardo train station, corresponding to the first industrial period. In this kind of train stations in Spain we can always find two different volumes whose spacial and material characteristics have nothing to do with one another. These pieces are the travellers building and the station canopy. So we are in front of “a tangent architecture” , two pieces that have been developed in parallel. The challenge of this proyect is to mix both realities. The proyect of a fire station also needs to guarantee a good connection between different areas for assuring fast and short itineraries. This idea is not compatible with the dual piece, the program requires understanding the building as a whole. The intervention seeks to generate different spaces as they were volumes inside the building . Boxes containing the program colonise the former platforms area. In the neoclassical piece, different-height rooms, open and closed spaces, living and transit areas..all of them are crossed by each other and work as smaller volumes inside the bigger one; the building in itself.Every proposed space is connected in what traditionally has supposed the distinction axis between the two main pieces, and now it´s understood as the connecting gallery of the complete building. This idea, supported by a clear distribution of the programme (noisy-silent areas, domestic-trainning-proffesional areas) tries to guarantee the fluidity of the itineraries.The project looks to provide different spacial characteristics in the proposed spaces, taking advantage of the possibilities offe-red by the building. Looking for new points of view and perspectives, creating new access to natural light..the aim is to create a more complex space but also organised it in a perfectly clear way, so in this way respond to the functionality required by a fire station.

El proyecto de un nuevo Parque de Bomberos para la ciudad de Sevilla tiene lugar en la Estación de San Bernardo. El edificio es una estación de ferrocarril correspondiente al primer periodo industrial. En las estaciones correspondien- tes a este periodo aparecen dos volúmenes con unas características espaciales y materiales muy distintas, el edificio de viajeros y la marquesina de los andenes. Estamos por tanto ante una arquitectura tangente, ante dos piezas que se desarrollan de manera paralela. La postura principal que se ha tomado desde el proyecto es el de conseguir mezclar esas dos realidades. En el proyecto de un parque de bomberos se debe garantizar una buena conexión entre las distintas zonas, de modo que los recorridos que en él se produzcan sean directos y cortos. Esta idea no es compatible con la pieza dual, el uso requiere que el edificio se entienda como un todo. El proyecto busca generar los distintos espacios como si se tratasen de volúmenes dentro del edificio. La nave se ve colonizada por una serie de “cajas” contenedoras de los distintos usos. En la pieza neoclásica espacios de distinta altura, zonas abiertas y cerradas, espacios de estancia y transición , todos ellos se van intercalando y funcionan como volúmenes más pequeños dentro de un volumen mayor que es el edificio. Todos los nuevos espacios que se proponen se encuentran conectados en lo que tradicionalmente supuso el eje de separación entre edificios, que ahora sin embargo es la galería de conexión de todo el edificio. Esta idea, apoyada por una organización clara del programa (zonas de ruido – zonas de silencio / zona doméstica – entrenamiento – técnica profesional), busca esa fluidez en los recorridos. El proyecto busca otorgar a los espacios que genera de distintas cualidades espaciales los unos de los otros, aprove- chando las posibilidades que ofrece el edificio, provocando nuevos puntos de vista y perspectivas, nuevas entradas de luz.. de modo que el espacio se complejice y se enriquezca, pero que a su vez se organice, se entienda de manera clara y responda por tanto a la funcionalidad que el parque de bomberos requiere.

Intervening on the Real Artillery Factory of Sevilla inevitably requires taking up a position with regard to its transformation in space and in time. The industrial unit where we have to intervene, the traditional artillery warehouse, is a space with enormous spatial possibi-lities but however it´s restricted by the strict division in three spaces. We are not talking in this case about a new image for the city, so we throw ourselves into an internal space proyect. Remembering the original state of the nave, understood as an unitary and bidirec-tional building, we see the space of the nave as a whole, able to develop in two directions.

“An architectural idea needs always to find answers in its own constructive solution, in its materials and technique” - Nieto&Sobejano Architects.

The strategy of this project is going to be supported, even be condensed into an unique constructive element , giving a specific answer to every space of the nave. The roof is, for this project, its possibility of becoming real. Through different proposed skylights, every space assumes a different spatial quality. We create a new roof landscape defined by different punctual elements with different dimensions and proportions. This idea makes reference to the characterisctic cupolas of the Real Artillery Factory. The intervention, in its complete configuration, serves the space of the nave in a purposive search for exalting and intensifing it. In short, for adding value to it.

Intervenir en la Real Fábrica de Artillería de Sevilla exige inevitablemente tomar postura ante su transformación en el espacio y en el tiempo. La nave objeto de inter- vención, tradicional taller de artillería, es un espacio con enormes posibilidades espaciales que, sin embargo, se encuentra coartado por la estricta división en 3 crujías. No se trata, en este caso, de dibujar una nueva imagen para la ciudad, por lo que volcamos el proyecto hacia su espacio interior. Y aquí, en este punto, surge el proyecto: recordando al estado primigenio de la nave, que se leía como un elemento unitario y bidireccional, entendemos el espacio de la nave como un todo que es capaz de desarrollarse en dos direcciones.

“Una idea arquitectónica debe encontrar siempre respuesta en su propia solución constructiva, en sus materiales y técnicas” – Nieto&Sobejano Arquitectos.

La estrategia de proyecto va a apoyarse , más bien a condensarse , en un único elemento que de respuesta a todos los espacios que colonizan la nave. La cubierta es, para este proyecto, su posibilidad de hacerse real. A través de la diversidad de lucernarios que se proponen, cada zona asume una cualidad espacial distinta, dando lugar así a una respuesta concreta para cada uno de ellos. Se genera de esta manera un paisaje de cubierta caracterizado por la presencia de elementos puntuales de distintas dimensiones y proporciones, haciendo referencia a las características linternas de la Fábrica de Artillería. La intervención en su configuración completa sirve al espacio de la nave, y surge a raíz de él en una intencionada búsqueda por realzarlo, intensificarlo y, en definitiva, ponerlo en valor.

NEW MARKET IN THE FORMER REAL ARTILLERY FACTORY (SEVILLA)NAME OF THE COURSE "RESTORATION". FOURTH COURSE.

The project consists on the urban renovation for the neighbourhood of “Parque Alcosa”, which is situated on the outskirts of Sevilla. We find the neighbourhood isolated from the city due to a belt of road traffic around it. In addition to these non-permeable edges, public spaces receive very little treatment and the building typologie is obsolete. All this involves an ageing and poor population. The proposal is focused on intervening on the spaces of the former factory of cotton, which nowadays acts like a blockage for the neighbourhood. The project is based on using these spaces for creating a green area which frees the west edge, a new market in the former naves of the factory for reactivate the economy of the area and which works as an urban reference for the city. The proposal also includes the development of a new building typology adapted to a broad range of possible users, thereby attract young population to provide social mixing and interaction. All the new spaces are totally open to the neighbourhood, looking for new conections with important roads, with the goal of integrate every element between them and with the neighbourhood in itself.

El proyecto consiste en una propuesta de renovación urbana para el barrio "Parque Alcosa", situado a las afueras de la ciudad de Sevilla. El barrio se encuentra aislado de la ciudad por un cinturón de vías de tráfico rápido. A estos bordes no permeables se suma un mal tratamiento de los espacios públicos y un tipo de tipología edificatoria obsoleta, lo que provoca una población envejecida y pobre en la zona. La propuesta se centra en intervenir sobre la antigua fábrica de algodón, que actualmente actúa como un tapón para el barrio. El proyecto se basa en la utilización de estos espacios para crear un gran espacio verde que libere totalmente el borde oeste del barrio, un mercado en antiguas naves de la algodonera que reactive la economía del barrio y actúe como espa-cio de referencia urbana, así como el desarrollo de nuevas tipologías de vivienda que se adapten a una gran variedad de posibles usuarios con los que se atraiga a población joven. Todo el nuevo complejo se abrirá totalmente al barrio, buscando conexiones con vías importantes, con el objetivo de que todos los elementos que se proponen queden perfectamente integrados entre sí y con el barrio en sí mismo.

URBAN RENOVATION IN THE NEIGHBOURHOOD OF "PARQUE ALCOSA" (SEVILLA)NAME OF THE COURSE "CITY". THIRD COURSE.

A NEIGHBOURHOOD WITH IDENTITY : ATTRACTINVITING TO COME

PUBLIC SPACE: MAIN FEATURE

BASIC SUPPORT: HOUSING

STAY SPACESENTERTAINMENT. SPORTS FIELD. CHILDREN AREA

COMUNICATIONPICK-UP AND DROP-OFF CHILDREN AREA. BUS STOP

BIG EQUIPMENTMARKET + STAY SPACE + CAFETERIA

PROMENADE

VEGETABLE GARDEN + STAY SPACES

FARMING LAND

VARIETY OF USES

ADAPTATION TO DIFFERENT FAMILY MODELSNEW DWELLING TYPOLOGIENEW LIFESTYLES

HOW?URBAN REFERENCE SPACESOPEN SPACES EQUIPMENTS

NEW SCENARIOS

HOW?CREATING NEW PEDESTRIAN ROUTES_NEW GREEN AREASMORE ACTIVITIES WITH NO ECONOMICAL COST_DIVERSITY OF SCALESLEGIBILITY_SIMPLICITY OF ELEMENTS_ENVIRONMENTAL CONFORT

LESS IS MORE

STAY SPACESENTERTAINMENT. SPORTS FIELD. CHILDREN AREA

RESIDENTIAL AREASMALL EQUIPMENTS

GREEN ROUTE

RENTAL ROOMS

LAUNDRY

GYM

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STAY AREASBUS STOP. BICYCLE PARKING

ENTERTAINMENTCOMUNICATIONPICK-UP AND DROP-OFF CHILDREN AREA. BUS STOP

BIG EQUIPMENTMARKET + STAY SPACE + CAFETERIA

PROMENADE

VEGETABLE GARDEN + STAY SPACES

FARMING LAND

GREEN SURFACEMATERIAL: SOIL, WATER

USE: VEGETABLE GARDEN, GARDEN

SOFT SURFACEMATERIAL: SAND, RUBBER , GRAVELUSE: PLAYGROUND, RESTING AREAS

HARD SURFACEMATERIAL: CONCRETE, COBBLESTONEUSE: CIRCULATION, RESTING AREAS

INTERVENING ON PUBLIC SPACE MULTIFUNCTIONAL STREETS sports areas spaces for children spaces for elderly people resting areas

FLEXIBLE GEOMETRY FOR SEPARATING FUNCTIONS different surfaces gradients green areas

ENVIROMENTAL CONFORT green areas shadow spaces water

GREEN SURFACEMATERIAL: SOIL, WATER

USE: VEGETABLE GARDEN, GARDEN

SOFT SURFACEMATERIAL: SAND, RUBBER , GRAVELUSE: PLAYGROUND, RESTING AREAS

HARD SURFACEMATERIAL: CONCRETE, COBBLESTONEUSE: CIRCULATION, RESTING AREAS