TRANSPA

RENCIES
OF THE
CONTEM
P O R A RY
ENVELOPE
VICTORIA ROBINSON 1
TRANSPA
RENCIES
OF THE
CONTEM
P O R A RY
ENVELOPE
FINAL THESIS
Final Thesis
University of Belgrano
Faculty of Architecture & Urbanism
Career accredited by:

Victoria Robinson
September of 2016
Buenos Aires - Argentina
Enrollment:
20292

Tutor:
Architect Liliana Bonvecchi
Architect Haydée Bustos

Technical Consultant:
Architect Teresa Egozcue

"To my family and friends, who have been with me since the beginning of my career;
To my companions, who have accompanied me throughout the process;
And to my teachers, for all the valuable life lessons."

5
 INDEX
1 Abstract 9

2 Introduction 11

3 The project 15
3.1 Site analysis 17
3.2 Project 22
3.3 Program 30
3.4 Memory 33
3.4.1 Architects tab 36

4 Theoretical Framework 39
4.1 Dematerialization of the envelope 41
4.1.1 Architects tab 45
4.2 Fluency
4.2.1 The translucent transparency 49
4.2.2 The mediated transparency 53
4.2.3 Application to the TV Station 59
4.2.4 Conclusion 60
4.2.5 Architects tab 62
4.3 Opacity
4.3.1 The reflective transparency 71
4.3.2 The silkscreened transparency 75
4.3.3 Application to the TV Station 81
4.3.4 Conclusion 84
4.3.5 Architects tab 86

5 Technical Folder 95
5.1 Balance surfaces 97
5.2 Model detail 97
5.3 Structures 98
5.4 Electricity 101
5.5 Sewer and CW/HW 105
5.6 Thermomechanical 111
5.7 Fire 117

6 Bibliography 123
6.1 Books 124
6.2 Written and articles 124
6.3 Electronic sources 125
6 7
 1 ABSTRACT
This final thesis explores fashion and trends and is situated in the Colegiales neighborhood within the Au-
diovisual District. The project was undertaken in 2015 as part of the Career Final Project under the guidan-
ce of architect Liliana Bonvecchi at the Faculty of Architecture and Urbanism at the University of Belgrano.

The objective of this work is to establish a specific language characterized by transparency, addressing
both aesthetic considerations and fulfilling visual and functional requirements. This is done in light of the
contemporary societal context and the evolving demands associated with the progress and development
of cities.

Various forms of transparency are employed to transform each project, influencing visual perception and
fostering a dialogue with the surrounding environment. Each instance involves a study of materialities,
technology, and aesthetics, exploring their interplay within the given context.

8 9
 2 INTRODUCTION
The transformation evident in architectural aesthetics is closely linked to the fleeting needs of contempo-
rary society. Unlike the past, where space interpreted societal needs, today, it is the image that takes prece-
dence. Our society now places a premium on the visual impact that each building can create.

The architectural envelope, the initial encounter for the viewer, undergoes continuous evolution, shaped
by the advances in technology. The transparency of today's architectural envelopes goes beyond being
a mere formality or an aesthetic pursuit; it has transformed into a tangible reflection of changes in human
lifestyle. Beyond addressing visual needs, the contemporary approach seeks a connection with the envi-
ronment, making the envelope a crucial interface for a dialogue with the outside world.

The first part of the theoretical framework, encompassing chapters one and two, delves into the outer
limit— the building envelope, often referred to as the 'skin,' drawing an analogy to the human body. Notably,
the work 'Des-velos' by Graziella Trovato is discussed, illustrating the evolution of the skin into an intelli-
gent, reactive surface that captures both natural and artificial changes. This concept is exemplified through
radical contemporary works, showcasing morphological flexibility and adaptation to their surroundings.

The second aspect explored is the dematerialization of the envelope, connecting the idea of immaterial-
ity to literal transparency, revealing the interior space. This transparency differs from traditional concepts,
emphasizing the quality of materials and their ability to connect with the environment.

In the first chapter, we explore two contemporary transparency types representative of a fluid society:
translucent transparency and mediated transparency. These surfaces play a role in dematerializing the en-
velope, relying on specific materials and methods to connect with the environment. The chosen transpar-
ency references are then analyzed, and their application to a project, such as Mode Studios, a fashion TV
station with technical spaces that showcase a clear and reactive media envelope, is discussed. The chapter
concludes by summarizing the notable qualities of fluid architecture, likening it to the aqueous and virtual
electronic state of society and comparing it to the borderless consciousness of the human body's skin.

¹Trovato, Graziella: Des-velos, Akal Editions, Madrid, 2007.

10 11
 In the second chapter, we delve into the analysis of two types of opaque transparencies—reflective and
silkscreened—that clad the building. Both function as aesthetic envelopes and, simultaneously, offer
privacy, akin to how clothing adorns our bodies. The reflective transparency, while emphasizing opacity
as a constraint, also seeks to engage in a dialogue with the surrounding landscape, creating a distinctive
aesthetic. Conversely, the silkscreened transparency serves as an artistic expression, blending art and
architecture. It underscores that the multiplied images reflect the end of an individualistic society, marking
the beginning of an era dominated by global and mass influences.

Similar to the previous chapter, each reference's envelope is discussed concerning materiality and its con-
nection with the environment. We then proceed to explore their application to Mode Studios, a TV station
with spaces affected by solar incidence, influencing areas where work activities take place. The choice of
opacity serves to mitigate direct radiation while fostering interaction with the surrounding natural environ-
ment. Final conclusions are drawn regarding the contemporary envelope's requirements that stand out.

Both fluid and opaque transparencies serve as reflections of our contemporary lifestyle. Today's world is in-
tricate and diverse, and architecture evolves in response to human living patterns. As previously mentioned,
there is a dual need for both fluidity and opacity, reflecting a desire for connection with the surroundings
while also seeking moments of intimacy. Contemporary architectural works that address these needs
through the implementation of technological and aesthetic mechanisms are carefully selected.

In conclusion, the technical folder, housing documentation essential for project realization, is explored. Just
as aesthetic aspects are crucial, so too are technical considerations. The discussion begins with a balance
of surfaces, outlining the project's premises at each level of the building. We then zoom in on construction
details, providing a model of detail. Finally, we examine the structural plans, encompassing electricity, sew-
age, cold water, hot water, thermomechanical, and fire systems of Mode Studios TV Station.

12 13
 3 THE
PROJECT
3 The project 15
3.1 Site analysis 17
3.2 Project 22
3.3 Program 30
3.4 Memory 33
3.4.1 Architects tab 36

14 15
 3.1 SITE ANALYSIS

The TV Station is situated in the heart of Colegiales, bordered by Conde, Dorrego, General Enrique Martín-
ez, and Concepcion Arenal streets, within the expansive Audiovisual District. This district encompasses an
impressive 720 hectares and 550 blocks, spanning across the neighborhoods of Chacarita, Villa Ortúzar,
La Paternal, Palermo, and Colegiales. Notably, the Audiovisual District in Colegiales experiences continuous
growth, with an increasing number of TV stations establishing themselves in the area. This influx is not only
due to the tax benefits but also the strategic location within the capital, providing excellent accessibility.

16 17
 Dorrego Flea Market stands as a distinctive feature in Colegiales, originally established to replace an old
fruit market and conveniently located in close proximity to Channel 9 TV Studios. Nestled in the heart of the
Audiovisual District, this market serves as a focal point for all working offices associated with the Audiovis-
ual industry in Buenos Aires city.

Colegiales' historical roots are deeply intertwined with its neighbor, Chacarita, forming part of the once-fa-
mous Chacarita of Colegiales. Despite the city's growth, the area retains its original nomenclature, with the
district's name originating from students who frequented the region during their holidays. Presently, Cole-
giales continues to evolve alongside its neighboring districts, including Chacarita, Belgrano, and Palermo,
sharing a common historical past.

The TV Station occupies a bustling location, seamlessly connected to a green area, particularly situated op-
posite Concepcion Arenal Street, home to Mafalda Square. This square pays tribute to the beloved cartoon
character created by Joaquín Salvador Lavado, better known as Quino.
In the following images, we highlight the TV stations established in the area, delineating the boundaries
of the audiovisual commune. Additionally, emphasis is placed on the significant thoroughfares within the Adding to the neighborhood's charm, one of the most traditional sporting spaces is the Polideportivo Co-
vicinity. Noteworthy is the expansive woodland that occupies a substantial annex adjoining the TV Station legiales, affectionately known as 'The Poli.' This sports complex spans the block between Freire, Matienzo,
sector. Conde, and Concepción Arenal streets.

18 19
 Today, the Polideportivo Colegiales, fondly known as 'The Poli,' remains a hub for athletes of all ages. It
boasts two tennis courts, a spacious grassy soccer field, and three additional courts dedicated to basket-
ball. The facility is also regularly used by local schools, limiting public access during school hours.

Colegiales is experiencing steady growth, particularly in terms of residential buildings compared to com-
mercial developments. Traditionally known for its low-rise residential structures, the neighborhood has seen
an increased demand for commercial projects, particularly along the corridor from Alvarez Thomas, extend-
July 21 (8:00 to 18:00)
ing from Elcano to Lacroze.
Study of winter solar inci-
dence. The facades facing
The neighborhood is flourishing, maintaining a distinctive identity characterized by a diverse range of
the street General Enrique
homes, PH properties (a highly sought-after type of housing), and newer buildings with no more than four
Martínez are those with a
floors. These newer projects often feature loft apartments, highly desired for office spaces due to their
lower solar incidence.
flexibility.

The urban renewal process in Colegiales is evident in numerous modern housing developments catering to
young professionals. Avant-garde buildings housing design shops, bars, restaurants, and boutique hotels
blend seamlessly with new residential and office spaces, contributing to an evolving public space that
aligns with the neighborhood's unique identity, reminiscent of Palermo.

Strategically positioned for accessibility and well-connected through public transport, the district's gastro-
nomic shops are often situated along the avenues or in close proximity to facilitate habilitation and pedes-
trian movement.

Considering solar incidence is crucial in the planning phase, as the orientation and position of the sun
directly impact the consolidation and location of the space. Functions within the building should prioritize
solar exposure, and the solar treatment of the building should emphasize the use of natural light for energy
efficiency.

December 21 (5:30 to 20:00)

The block housing the TV Station has excellent communication with the neighboring Mafalda Square. The
Study of summer solar inci-
recreational and green spaces in this area experience ample solar exposure both in summer and winter.
dence. In which parallel facades
Shadows tend to lean towards General Enrique Martínez Street, resulting in lower solar incidence on that
to the street Conde, are those
side. In contrast, the facades facing Conde Street receive direct solar radiation.
with a direct solar radiation.

20 21
 3.2 PROJECT

22 23
24 25
26 27
28 29
 3.3 PROGRAM

30 31
 3.4 MEMORY
The project revolves around creating a seamless connection between the public, private, and green spaces,
mediating with the surrounding environment. The first volume, designed for public-private interaction, runs
parallel to the Dorrego Flea Market. This configuration facilitates easy and direct access for individuals
engaged in commercial activities and recreation, allowing them to seamlessly transition to the market. The
first floor of this volume is entirely public, featuring commercial shops and a two-level bar with a section on
the second floor. The upper floors are private, housing the technical management of the building, including
a library and screening room on the second floor, and offices for art, costume, and administration on the
third floor, including departments such as management, human resources, and legal.

The second volume, dedicated to technical-private functions, is parallel and directly connected to Channel
9. This section includes two recording studios or sets, a technical area with a workshop for decor and sce-
nery, a storage facility, and islands for sound editing, color, and image. These technical areas are seamlessly
integrated with control offices overseeing the sets. The design of both volumes adheres to the existing lines
of the Flea Market and Channel 9. The private volume features a distinctive deformation, with a lower sector
and a higher sector with less square footage. The higher sector, adjacent to the Dorrego facade, houses
the main TV station studio, establishing a dynamic transition from Dorrego to the building entrance and
creating a visually impactful presence in relation to the other volumes.

32 33
 The building features a dual entrance or main access. A private entrance, situated between the sets and
leading to the technical area, is characterized by a spacious semi-covered area. In contrast, the public
entrance is positioned in the public-private volume area facing Dorrego Street. This entrance comprises
a substantial main hall and a central circulation core, providing access to the administrative offices of the
production company.

Laban Centre - Herzog & de Meuron Acne Studios - Sophie Hicks

The design of a Seoul, Korea fashion shop for the Acne Studios brand by English architect Sophie Hicks
serves as another reference, particularly regarding the facade panels. However, in our case, for the sets or
recording studios, the approach differs as they lack shading. The recording studios are characterized by thick
walls to address acoustic requirements and specific lighting features.

The arrangement of the volumes as previously described creates a distinctive V shape, forming a passage
The panels in other parts of the building exhibit a varied presentation. On facades with significant solar in-
that visually invites entry, with the main entrance positioned above the primary set. This passage leads
cidence, colored panels are positioned closer to each other, creating a sun-shading effect. Conversely, on
through to Mafalda Square, with the semi-covered area of the volumes serving as a pivotal connecting
facades with lower solar incidence, transparency takes precedence, achieved through translucent panels
point. The bar features a second semi-covered area, establishing a connection to the outdoors and the
spaced at greater intervals. The transparency of the building envelope is achieved with impact-resistant
green sector.
panels that are easy to install and incorporate anti-UV treatments
The building's exterior is composed of various dry and green sectors, contributing to spaces for relaxa-
tion and tranquility for those engaged in technical and administrative activities. Passersby perceive these
sectors as a connection to the lush greenery of the area, creating a visual continuity with Mafalda Square.
Additionally, the semi-covered area related to the bar fosters a strong indoor-outdoor connection.

Distinctive facades are achieved through the use of panels coated with polycarbonate, showcasing a varie-
ty of colors. The pastel shades not only serve as a solar incidence deterrent but also function as an aesthet-
ic complement, capturing the viewer's attention. The choice of pastel shades aligns with our production's
fashion-oriented theme and draws inspiration from the Laban Centre by Herzog & de Meuron, a conserva-
tory of music and dance in London, England.

34 35
 Herzog & de Meuron is a prestigious
Swiss group composed of archi-
tects Jacques Herzog and Pierre de
Meuron. The studio headquarters
is in Basel, Switzerland, although
currently there are satellite offices
in Madrid, Beijing, London and New
York.

Sophie Hicks is an English architect, her archi-

tectural studio Sophie Hicks Architects holds
a longstanding participation with the world of
art and fashion, a reflection of Sophie Hicks
personal interest in art. The studio is located in
London, England.
Sophie hicks
Herzog & de Meuron ACNE STUDIOS The Acne Studios shop in Seoul, Korea, situated in
SEOUL, KOREA - 2015 a city known for its vibrant culture, particularly cap-

LABAN CENTRE tures the essence of the Swedish brand's identity.

Acne Studios, representing Swedish culture, is often
LONDON, ENGLAND - 2003 The conservatory of dance characterized by modesty and discretion. Howev-
and music in London features er, the building itself, in stark contrast, exudes bold
vibrant facades composed of design and attitude, embodying a unique architectural
translucent and transparent statement. From an exterior perspective, the build-
glass panels, each delineating ing appears as a modest light box, translucent and
the functions of the respec- somewhat ghostly, maintaining simplicity at its core.
tive spaces within. Integrated Yet, upon entering, one discovers that behind the
colored polycarbonate panels seemingly simple exterior lies a complex and robust
serve both as sunscreens and structure crafted from heavy concrete. This duality
reflective elements, contribut- between the unassuming exterior and the intricacy
ing to energy efficiency. The within adds depth and character to the overall design
dynamic facades don't adhere of the Acne Studios shop, offering a compelling visual
to a stable color scheme but and spatial experience for visitors.
rather change based on the
sunlight incidence, transitioning
between clear, turquoise, yellow,
or magenta green hues. This
outer skin not only reflects the
current weather conditions but
also unveils the ongoing activ-
ities within the building. Impor-
tantly, it is separated from the
structural elements by a layer of
thermal and acoustic insulation.
The windows interrupting the
polycarbonate are constructed
with mirrored glass, adding a
36 37
distinctive touch to the overall
aesthetic.
 4 THEORETICAL
FRAMEWORK
4 Theorical Framework 39
4.1 Dematerialization of the envelope 41
4.1.1 Architects tab 45
4.2 Fluency
4.2.1 The translucent transparency 49
4.2.2 The mediated transparency 53
4.2.3 Apliccation to the TV Station 59
4.2.4 Conclusion 60
4.2.5 Architects tab 62
4.3 Opacity
4.3.1 The reflective transparency 71
4.3.2 The silkscreened transparency 75
4.3.3 Apliccation to the TV Station 81
4.3.4 Conclusion 84
4.3.5 Architects tab 86

38 39
 4.1 DEMATERIALIZATION
OF THE ENVELOPE
Envelope

‘‘In architecture, the limit is not just a line, point or moment, but can also be a space, as J. Luis Mateo said in
his instrumental texts: Limit is understood as a space junction between different realities, is really the con-
temporary space with which we have had to work on numerous occasions: a space marked by numerous
realities that act simultaneously with each other. [...] The limit is a hinge point, a tightening point ... In every
culture and in every age man understood in a different way how to inhabit the interior space, but also how to
interact with the environment, way to build the limits”.¹

In architecture, the limit is fulfilling the function of separation between the inner space and outer space, and
in this separation internal needs of human beings and their privacy, with symbolisms and dialogue with the
environment are opposed. Thus, the envelope begins to develop from the start time is given to the inner
delimitations of a building, so it is the exterior result of these limits.

The envelope is around or surrounds, and is the outer limit, and is presented as an analogy of skin on
the human body according to the architect Graziella Trovato. The facade is the mask where ideological
concepts, technological developments and fashion, are reflected, and has evolved by stages and how is
presented: on the primitive, such as skin support function meaning; on the social, as the face of the system,
and on the electronic, as the skin of a body that losts consciousness of its limits.

Thus ‘‘The cancellation of the traditional facade and the beginning of a new facade away from Renaissance
frontality, in favor of gesture, flexibility and transparency of a veil that candle and reveals the multiple con-
tradictions of our time”² is announced.

The following examples are intended to explain the concept of electronic mask, which is the last stage of
evolution of the mask, and that becomes the outer skin of contemporary facade. Each envelope or skin and
the way it has to relate to the environment, is analyzed.

¹Ainara Cuenca, Juan; Solé Andreu, Irene y Vázquez García, Miguel Ángel: Límite y percepción en la arquitectura, Valencia.
²Trovato, Graziella: Des-velos, Akal Editions, Madrid, 2007.

40 41
 Auditorium and Congress Centre of Plasencia - SelgasCano

The example of the Auditorium and Congress Centre of Plasencia serves as a compelling illustration of the
electronic mask concept, depicting a structure that appears to be a translucent meteorite embedded in the
earth. The architects' approach of designing a building without formal references to respect the surrounding
land suggests a departure from traditional constraints, reflecting a loss of consciousness of limits. Instead,
the focus was on using the least possible surface to occupy the space. Despite the intention to respect the
natural environment, there is a paradoxical quality in the proposal—a harmonious yet artificially conceived
volume. The building stands as a contradiction, blending with the surroundings while asserting its presence
as an iconic element. The envelope of the Auditorium and Congress Centre serves as an electronic mask,
an immediate and backlit translucent skin that not only signals its presence during the day but also acts as
a distinctive reference point in the nighttime landscape. This dual functionality adds to its significance as an Dematerialization
architectural landmark that transcends conventional boundaries.
The dematerialization is the intention that the architects have to generate buildings that become invisible,
de-materialize, is related to the disappearance of matter that has to do with the visible, ie in the case of
architecture with the materials.

“The idea of ​​immateriality in architecture is commonly linked, literally, with transparency and translucency;
the main qualities of glass and other materials”.⁵ This idea is the idea of nonexistence of matter, ie the abso-
lute invisibility or in this case the literal transparency.

Is the literal transparency, differetiated first by Rowe y Slutzky which “explains the material quality to see
through or real transparency”.⁶ It is the one that reveals the interior space, as shown in the KAIT workshop
by architect Junya Ishigami, where glass is the material with which the four facades of the building are built.

“The flexibility of the skin records the natural and artificial becoming at the same time, a body that lives the
solar day, the electric day and finally the electronic day with no beginning or end”.³

The Turbulences FRAC Centre - Jakob + Macfarlane

Another example is the FRAC Turbulence Centre in France, the project idea is to take all the site, with the
intention not only to create a landscape but a topographic surface as skin, which limits tend to be handled
in different directions. This skin adapts to the natural slope of the site and consists of turbulent metal mesh
and fine textiles profiles that have a constant flow of information exchange. Volume, light and image come
together to create a dynamic form of information architecture. “These digital surfaces are heading to the
city and as such, the building surface transcribes information flows in images of light through an interven-
⁴http://www.plataformaarquitectura.cl/cl/02-292996/centro-de-frac-de-turbulencias-jakob-macfarlane-architects/
tion by Electronic Shadow. These information flows can be the weather, connections to your website or any ⁵Barria Chateau, Hernan: Desde la transparencia a la desaparición de la arquitectura, Bio University, Chile, 2007.
captu able information flow in real time”.⁴ ⁶Rowe, Colin y Slutzky, Robert: Transparencia: literal y fenomenal, Gustavo Gili, Barcelona, 1998.
³Trovato, Graziella: Des-velos, Akal Editions, Madrid, 2007.

42 43
 In the book written by Colin Rowe and Robert Slutzky, different meanings and connotations that includes
the transparency word are explained, as it is a term used often and erroneously lightly. The literal transpar- Junya Ishigami is a
ency is a material quality, and is different from the phenomenal, which relates to the organization of archi- Japanese architect. He
tectural elements in space. acquired his master's
degree in architecture
“All matter is about to disappear in favor of information. We can also see as a change of aesthetics. For me, and planning at Tokyo
disappear does not mean being eliminated. As the Atlantic, which is still there even though we can not feel National University of Fine
it when we flew over it. [...] The same happens with the architecture: it will continue to exist, but in a state of Arts and Music in 2000.
disappearance”.⁷ IshigamI worked with SA-
NAA before establishing
The new transparencies are born from the phenomenological, which is made of light and shadow while his own firm in 2004.
opacity, and respond to a kind of vision by using translucent, mediated, reflective or image-based elements.
However, they go beyond the duality of Rowe and Slutzky, and now is a transparency based on the narrative.
Junya Ishigami
KAIT WORKSHOP
TOKYO, JAPAN - 2010
The KAIT workshop, located at the Kana-
gawa Institute of Technology in Yokohama,
Tokyo, offers students a unique workspace
where they can spend their days immer-
sed in design activities. This workshop is
designed to create the sensation of working
outdoors while remaining within the confi-
nes of a building. The extensive use of glass
imparts a weightless quality to the struc-
ture, and the open-plan layout preserves a
literal sense of transparency, allowing the
observer's gaze to traverse the uninterrup-
ted space. The flexibility of the workshop is
a standout feature, resembling a forest
with numerous columns that contribu-
te to the overall aesthetic. This design
choice not only provides a sense of
openness but also fosters a dynamic
and adaptable environment, allowing
students to engage in their creative pur-
suits seamlessly. The KAIT workshop,
⁷Virilio entrevistado por Ruby, Beckman, 1998. Barria Chateau, Hernan: Desde la transparencia a la desaparición de la arquitec- with its innovative design and emphasis
tura, Bio University, Chile, 2007. on transparency and flexibility, serves
as an inspiring and conducive space for
the students of the Kanagawa Institute
of Technology.
44 45
 Selgascano is a partnership be-
tween the architecture of José
Selgas and Lucía Cano. They are
Spanish and their works are locat-
ed mostly in Spain. Of which the Jakob + Macfarlane is a multidis-
Auditorium and Congress Center ciplinary and multicultural agency
of Plasencia and the Serpentine architecture based in Paris, France,
Gallery Pavilion in London are made by Dominique Jakob and
included. Brendan MacFarlane. In his work
they explore digital technology as
a conceptual tool and as a means
of production, and the use of new
materials to create.

SelgasCano Jakob + MacFarlane

AUDITORIUM OF PLASENCIA FRAC CENTRE
ORLEANS, FRANCE - 2013
PLASENCIA, SPAIN - 2015
The Auditorium and Congress Centre in Plasen- The Turbulences FRAC Centre in
cia, Spain, stands on a residual terrain at the edge France showcases an innovative
of a newly built residential area, positioned at the architectural concept that en-
periphery of the urban space and facing away from compasses the entire site, defi-
The surfaces of the Centre ser- ning the intervention's surface.
the historic city on a steep slope. In a departure
ve as mediums for transmitting The essence of this architectural
from traditional architectural norms, the architects
digital information flows related endeavor lies in the convergence
conceived a robust building devoid of formal refe-
to climate, internet connections, of geometries, manifested in a
rences, prioritizing the inherent value of the land it
and more, transforming this ar- deliberate deformation—a zone of
occupies and minimizing its footprint.
chitectural marvel into a dyna- turbulence. This approach aims to
Despite its commitment to respecting the natural
mic canvas for light images. This craft a three-dimensional image
environment, the design paradoxically introduces
synthesis of form and function and dynamic form where volume,
an artificial volume—a structure with immediate
not only creates a visually stri- light, and image seamlessly unite
and unmistakable presence, serving as a clear sign
king structure but also imbues to construct an architecture of
or landmark in the landscape. This deliberate
it with a purpose, transforming information.
contrast between the artificial and the natu-
it into a living and responsive
ral enhances the building's impact, making it a
entity that engages with its
distinctive and iconic piece that asserts itself
surroundings in an interactive
in the surrounding terrain. The Auditorium and
and information-driven manner.
Congress Centre, with its powerful design and
The Turbulences FRAC Centre
intentional departure from formal conventions,
thus represents a cutting-edge
stands as a testament to innovative architec-
exploration at the intersection of
tural expression.
architecture and technology.

46 47
 4.2 FLUENCY
Dematerialization is an ideal that was evolving and changing its concept with the passage of time, today
there are new mechanisms that tend to search for transparency in envelopes and looking to generate a fluid
space that allows us to interact more easily with us surrounds.

“What I mean by transparency is slightly different from to see. For me, the information society is related
rather to not see”.¹ When contemporary transparency is mentioned, in my opinion there is not a reference to
literal transparency and the ability to see through the material, but to this quality in contemporary envelopes
which tend to dematerialization.

Fluency appears to be the key of word information technology, which characterizes the present time, this
time in which messages are expressed in more and more metaphorical and immediately in all areas as
well as in architecture. The beginning of an era marked by the information revolution and new systems of
production and consumption, caused this renewed vision of the planet and cities. And is the envelope or
skin, which shows fluidity. If the facade previously expressed the need for the permanent, of the stable and
living in a space with sacred and institutional nature, the skin becomes the expression of a life that records
continuous changes within a city that, like the body, lost awareness of their spatial and time limits.

“The natural world is extremely complex and variable, and its systems are fluid as they are built in a fluid
world. In contrast, architecture has always tried to establish a more stable system”.² Ito explaines that the
complex fluidity of our society, leads to the search for simplicity in architecture.

4.2.1 TRANSLUCENT
TRANSPARENCY
The translucent refracting capacity, is a quality which have certain materials that let light and see through
them, but confusingly, what is on the other side. “Shape and movement are always in translucent flowability
declines towards transparency”.³ For Toyo Ito, the new transparency is translucent and the liquid body in the
fetal state or certain organisms as pupae in a state of transformation, this heralds a world in continuous
fluctuation as the digital world in which we live.

¹Sejima, Kazuyo: cita, El croquis Kazuyo Sejima y Ryue Nishizawa 1995-2000: trazando los límites, Una conversación entre
Kazuyo Sejima y Ryue Nishizawa por Alejandro Zaera, El croquis, Madrid, 2001.
²Ito, Toyo: Forces of Nature, Jessie Turnbull, Princeton Architectural Press: Nueva York, 2012.
³Ito, Toyo: Tre trasparenze, Electa, Milán, 2001.

48 49
 This new annex extends throughout the campus and distinguished five translucent, transparent, light and
limitless volumes that contrast with the original building. The program of the new building houses collec-
tions of photographs, special museum exhibits, a new entrance lobby, shopping museum shop, coffee bar,
library and support spaces for the museum staff.

Museo del Océano y del Surf - Steven Holl Cero K - Max-A

The first image is the Museum of Ocean and Surf by Steven Holl Architects and the second building is Zero
K by Max-A architects. The double technologic layer allows independence between the layers that make
up the skin, the outermost layer becomes translucent with its structure, while behind the building envelope
are found transparent-glazed enclousure walls. This has to do with the term Bigness⁴, employed by Kool-
haas, which refers to the extension of the interior by the effect of new technologies. The project structure is related to the concept of the skylights that emerge above ground. At beginning of
the work the ground was excavated and secured by a perimeter wall of reinforced concrete. This structure
“The architecture is pushed to the edge of dematerialization, with the full knowledge that can never really is of reinforced concrete and steel. In each volume, along the center, a wall is constructed in the form of T
be dematerialized. Instead, heavy is light. However, the lightness of this architecture is not a lightness that at which Holl dubbed as Breathing T⁶, and is not just about a structural element because it also ensures
works against the hardness of the technical laws: work tactically to achieve effects of light in architec- proper circulation of light and air into the interior.
tural lighting meanings (as opposed to the merely technical). It is a tectonic lightness precision, lightness
software instead of hardware”.⁵ This implies that although the architecture tends to dematerialization, it
is physically impossible to happen. Is the light, which has the effect of lightness, in this case, through the
translucency.

Then the translucent transparency of fluid society is explained, which was analyzed and explained pre-
viously based on writings of Toyo Ito, Tre Trasparenze and Forces of Nature. Taking as an example the
Nelson-Atkins Museum of Art by Steven Holl architects.

Nelson-Atkins Museum - Steven Holl architects

The expansion of the Nelson-Atkins Museum of Art, located in Kansas City, USA, has a new annex, called The glass walls that make up the translucent volumes are formed by two walls of different glasses with
Bloch Building. enough space between them to circulate a person. This space comes with a dual purpose, first because it
allows the installation of lighting control systems, an aspect of vital importance in a place

⁴Biló, Federico: Rem Koolhaas: Bigness, Edizioni Kappa, Roma, 2004. ⁶https://es.wikiarquitectura.com/index.php/Museo_de_Arte_Nelson_Atkins._Bloch_Building/
⁵Ito, Toyo: Forces of Nature, Jessie Turnbull, Princeton Architectural Press: Nueva York, 2012.

50 51
 where works are exhibited that could degrade in contact with natural light, and second serves in turn as
insulating chamber to ensure thermal stability of the internal space.
4.2.2 MEDIATED TRANSPARENCY
The transformation of the building into a lantern in the landscape, capable of dynamically changing
“Architecture, as is a tectonic support is also creating an artificial atmosphere that connects to the larger
throughout the day, highlights its role as a multifaceted entity that not only receives and transmits informa-
information networks. It is in these more ephemeral aspects of building architecture, which the actual way
tion but also actively engages with its environment. This conceptualization extends beyond viewing the
of social interaction can change”.⁷ The envelope creates an artificial environment through the translucency
building as a mere urban screen or a generic electronic box with superficial decoration. Instead, the entire
of architectural volumes, and thus, a transformation and subsequent interaction with the context surround-
building is envisioned as an electronic device, functioning as an interface that establishes connections be-
ing the work is generated, generating a communication with the viewer.
tween the interior and the exterior. This interaction goes beyond climatic influences, also involving a novel
form of mediated transparency.
The outer envelope of the volumes is formed by two series of pieces of U-shaped glasses positioned to fit
In the contemporary context, the process of dematerialization extends beyond the traditional understand-
each other, creating a second air chamber inside the profiles, which in turn have been treated to block most
ing of walls or facades as the final layers of coating. Instead, the entire building is envisaged as a transpar-
part of radiation that could be harmful to the artworks. The position of the volumes on the site and glasses
ent, luminous object, with the facade interface serving as the medium exposed to the environment. Drawing
that allow translucency, make the user experience a flow between light and art, and between architecture
inspiration from the concept of interface in computer science—representing the connection between two
and landscape.
systems for communication—the facade is positioned as a medium. This gives rise to the notion of medi-
ated architecture or media architecture, where formal and functional elements, including the facade, are
transformed into media.
In essence, the term "media facade" is distinct from the concept of urban screens. It encompasses a
broader understanding of architectural elements serving as dynamic interfaces, actively participating in the
communication between the building and its surroundings. This evolution reflects a paradigm shift in archi-
tectural design, where buildings are not static entities but dynamic interfaces that contribute to a broader
urban dialogue.

Urban screens
What is happening today in architecture with regard to urban screen, is that there are new projects af-
fecting facades or surfaces of buildings and seeking to generate different visual expresions from the
actual screens, thus no longer relies only to the use of lighting for construction. This means, that arise new
composition ideas in many projects, as part of the definition of urban screens. These new projects have
conceptual and functional elements that create a diverse media scale, and that integrates new technolog-
ical resources they use, and the innovative way of building a speech and a visual language. These various
expressions can be: lighting structures, large-scale projections and screen facades.

Media facade
However, the main features of the media facade have relation with the use of media and technologies to
“The difference between traditional facade with windows to look at the adjacent world, and the facades of
create new aesthetic and themes expressions, features we also found in urban screens. But what makes
today is comparable says Ito, to the difference between traditional small aquariums and great contemporary
them different from a large-scale projection, lighting structures or an LED display, LCD, plasma, etc., has to
aquariums. If the first only allow to glimpse a small stretch of the underwater world, the second immerse us
do with the elements that create the visual discourse, and if they integrated the spatial and compositional
in it and take us to a world of fluid movements, of which separate us few tens of millimeters”.⁸
context of the envelope, generating a skin that achieves through its shape, function and content, and that

⁹Saucedo Rodríguez, Christian: Pantallas Urbanas: La fachada mediática, de lo particular a lo general, Escuela superior téc-
nica de arquitectura de la Universidad de Sevilla, Sevilla, 2008, https://nait5.wordpress.com/2008/06/08/pantallas-urba-
⁷Ito, Toyo: Forces of Nature, Jessie Turnbull, Princeton Architectural Press: Nueva York, 2012. nas-la-fachada-mediatica-de-lo-general-a-lo-particular/
⁸Ito, Toyo: Tre trasparenze, Electa, Milán, 2001.

52 53
 creates a particular visual discourse. This visual speech is kinetic, and is achieved as a result of using tech- In the Green Pix in Beijing, China, is the main facade presented electronic and changing, it is “A laminated
nological devices (software & hardware), which generate full forms of movement outside the body of the glazing curtain wall, between its layers photovoltaic cells are inserted, so that the energy consumed at night
buildings. is offset with the one produced in the day. These cells are placed with a variable density to allow more or
less light into depending on the needs of the building. The glasses used combine three levels of transpar-
“So, what is the extraordinary in the concept of mediated facade? Undoubtedly, the answer lies in the way ency which diffuse the light produced by the leds”.¹¹
it builds its own visual language, which is not limited only to create a static image, but is bid to achieve a
kinetic perception across the surface, appearing many times as a skin that responds to activation, interac- Hotel Habitat, however, is a project that takes as its starting point the energetic behavior of nature, and its
tion or even that is reactive with other affecting factors (environmental, weather, space, etc.)”.¹⁰ This defini- media envelope is intended as parametric recreation of a forest that reacts to industrial and urban envi-
tion is interpreted as an example of smart skins or intelligent skins, with respect to the reactive capacity of ronment. This is an example of nature recreated in the most abstract way possible through science and
different materials and elements that make up the skin, working with technological applications to trans- technique.
form these surfaces expression elements to the conditions presented in the spatial context. With this, we
find contemporary works often resort to cutting-edge technology development in order to create ever more “The building is surrounded by a mesh of a stainless steel tensioning cable, in which some 6,500 devices,
amazing and interesting scenarios, through ways that affect temporary or permanent surface manner and such as artificial leaves, consisting in a photovoltaic cell with a battery, CPU and a RGB led, are located.
therefore our perception towards identity of architecture. The leds will go on according to the amount of light collected by the sensor, so the image of the building
varies depending on the weather variation. Each device responds to the calls independently, without the
intervention of any central intelligence. The building is blurred and confused with their environment, lighting
contributes decisively to this ethereal, moody, evanescent image. This project was selected for the exhibi-
tion, On-Site: New Architecture in Spain, held at MoMA in 2006”.¹² We can see pictures of the exhibition at
MoMA of the Hotel Habitat, a clear example of mediated transparency.

Hotel Habitat - Enric Ruiz Geli + Cloud 9 Green Pix - Simone Giostra and Partners “Now, in the information age, architecture must be a technological platform where what matters are the bits,
connectivity, new materials, nanotechnology. [...] The connections are more important than the weight of
the materials. It is an electronic, immaterial world where what matters is the drawing of the network and not
of gravity”.¹³
The media facade constantly redefine its concept, and no longer presents itself only as a large screen. As
we see in the images of both examples, the first concept of media facade with the Hotel Habitat by Enric
Architecture by mediated transparency tends to dematerialization, and as Ruiz Geli explains, no matter the
Ruiz Geli, in the second instead, we see a clear example of urban screen with the Green Pix building by
weight of materiality, but the technological connectivity.
Simone Giostra and partners.

¹¹https://mgbarahona.wordpress.com/2011/09/22/fachadas-construidas-con-electricidad/
¹⁰Saucedo Rodríguez, Christian: Pantallas Urbanas: La fachada mediática, de lo particular a lo general, Escuela superior téc- ¹²Idem 15.
nica de arquitectura de la Universidad de Sevilla, Sevilla, 2008, https://nait5.wordpress.com/2008/06/08/pantallas-urba- ¹³Ruiz Geli, Enric: MEDIA-TIC Building, Actar D, Barcelona, 2011.
nas-la-fachada-mediatica-de-lo-general-a-lo-particular/

54 55
 Once all the concepts based on various writings are studied, we will exemplify the transparency of the fluid
mediated contemporary society, analyzed by Enric Ruiz Geli in his book MEDIA-TIC building and take as an
example the treated project.

MEDIA-TIC - Enric Ruiz Geli + Cloud-9

The MEDIA-TIC building is located in the technological district of Barcelona. It has been designed by the
architecture firm Cloud 9, directed by architect Enric Ruiz Geli. “It intended to be an iconic headquarters of
the digital world and a vehicle for the dissemination of new technologies, as well as a civic and open space
to society”.¹⁴

“The MEDIA-TIC facade does not explain the industrial construction in series, but evolves and explains
the digital construction, the building information. A contemporary construction that allows to build a very
complex facade”.¹⁵ The transparent envelope occupies large expanses of glass. His material is a polymer ETFE (Ethylene Tetra
Fluoro Ethylene) with very special characteristics: good sun insulation, lightweight, elastic and generates
The building shape is cubic and this is formed by large iron beams covered by a plastic coating inflatable good speed in geometric shapes. It is also non-stick, which prevents soiling and cleaning maintenance
bubbles, which show the fluorescent building structure. The facade not only has an aesthetic function, required, and not lose its characteristics of elasticity, transparency and hardness over time.
also regulates the light and temperature and is able to save a percentage of twenty percent per year in air
conditioning. “The building is related through a new porosity of vertical connections and intelligent mechanisms that are
inserted into a nervous system tissue of the skins themselves. The whole architecture becomes an inter-
Each facade of the building is different, depending on where you look, has a different plastic look with a very face between the body and nature through technology”.¹⁷
innovative translucent coating, known as ETFE. It is an external covering and a sunscreen which allows entry
of light and heat savings . This building has a fluid and unstable aspect regarding its sensitive skin and its structure. The structure,
which is seen, also has a particularity, that absorbs the light captured during the day and shows at night,
becoming a luminescent element like a jellyfish, the author says.

“MEDIA-TIC is a house of technology, an image of unity where there is all the digital diversity and complex-
ity, under a roof, under a house: a material. A different material from other glass offices, a material product of
training, research, production and dissemination: ETFE”.¹⁶

The building program aims to be a citizen forum, for meeting, learning and implementation of ICT (infor-
mation and communications technology). And also it will host ICT companies and media and audiovisual
sector companies.

¹⁴http://www.22barcelona.com/content/view/41/427/lang,es/
¹⁵Ruiz Geli, Enric: MEDIA-TIC Building, Actar D, Barcelona, 2011.
¹6Idem 15. ¹⁷Ito, Toyo: Tre trasparenze, Electa, Milán, 2001.

56 57
 The image of the building, and the answer that is looking to cause in the environment, is a fluid, changing
and mediated society. It is an example of media facade and therefore of how aesthetic expression of tech-
nological advances is reflected in the architecture by materiality because of its innovative and transparent 4.2.3 APPLICATION TO
envelope. That's why, these envelopes or mediated skins are continuously maintaining a search for the evo-
lution of technological and the compositional development, and function as experimental elements of high THE TV STATION
spatial ability and have own response, ie, they are smart as the skin of our body. They also are in constant
redefinition, due to the changes and demands of our contemporary culture, and end up being an element The design approach for the recording sets at Mode Studios TV Station reflects a thoughtful
that functions as means and as art. integration of creativity, innovation, and the technical requirements inherent in the media sector. In
particular, the choice to use an envelope composed of translucent panels, inspired by the reference
The electronic skin finally experimenting with a new architecture that aspires to be increasingly corporeal, of Acne Studios by the British architect Sophie Hicks, demonstrates a commitment to a design
that is able to have its own response, as happens with the skin of the human body. The union between body language that resonates with the essence of the space.
and architecture through technology finally brings us to the facade as a direct extension of our foreign and
our sensitivity, our way of relating and communicating with the environment. Sensory interface represents, Given that the recording sets are dedicated to technological activities, the concept of mediated
in this way, the final phase of the transformation process and extension of the boundaries of the body, both transparency is embraced. This aligns with the overarching theme discussed in this chapter, em-
physically and conceptually. phasizing the importance of the facade as an interface that reacts to its environment and contrib-
utes to a unique visual narrative related to information technology and communication.

The proposal introduces a distinctive element by replacing the panels on the facades of the record-
ing studios with a metal mesh attached to stainless steel structures. Embedded within this mesh
are devices comprising a photovoltaic cell with a battery, a CPU, and RGB LED lights. The dynamic
interplay of these elements allows for a responsive lighting system that adapts to the surround-
ing conditions. The LEDs change their illumination based on the amount of light collected by the
sensors, resulting in a visually evolving facade that produces different colored lights corresponding
to variations in climate. The independence of each device ensures a nuanced and context-aware
response to the environment's requirements.

This innovative approach not only serves the functional needs of the recording sets but also trans-
forms the building into a dynamic and responsive visual element, engaging with its surroundings in
a technologically sophisticated manner. The proposed design aligns with the theme of mediated
transparency, creating an architectural expression that reflects the spirit of Mode Studios as a con-
vergence point for creativity, innovation, and media.

58 59
 Skin Detail of recording
studios with the LED

FLU-
devices.

ENCY
MODE STUDIOS
TV STATION
The focus on fashion and trends televi- The recording sets vol-
sion at Mode Studios TV Station is not umes at Mode Studios TV
only reflected in its programming but Station boast a distinctive
Render night view of the sector between both volumes and the contrast between the and technologically ad-
also in its architectural expression. The technical and the public administrative area generated.
skin of the building is conceptualized to vanced skin. Comprising
create a visual discourse that is closely a robust metal structure
tied to new intelligent technologies, akin intertwined with stainless
to the way the skin of the human body steel mesh, this facade is
reacts and responds. not merely a static shell
but a dynamic canvas
The recording studios or sets, being that comes to life as night
the core spaces where the most cru- descends.
cial activities take place, are designed Embedded within this
to be illuminated prominently at night. mesh are electrical LEDs
This deliberate choice not only serves strategically positioned
a functional purpose, ensuring visibility to transform the volumes
and functionality during nighttime activ- into illuminated spectacles
ities but also contributes to the build- after sunset. Guided by a
ing's aesthetic impact. The illuminated sensor and responsive to
recording sets become a literal the ambient light absorbed
representation of the building's use, during the day, the LEDs
emphasizing the role of information orchestrate a captivating
technology in the realm of fashion dance of hues and inten-
and trends television. sities.
By integrating these elements into The colors emitted by these LEDs are not
the architectural design, Mode Stu- arbitrary; instead, they are meticulously cal-
dios TV Station establishes a visual ibrated in correlation with the varying levels
language that aligns with its mission of solar radiation. As a result, the facade
and activities, creating a dynamic Conde facade. View of the recording sets from the Conde street, hav- facing Conde Street radiates a specific hue,
and engaging environment that re- ing a specific color variation due to direct solar radiation. creating a unique visual identity, while other
flects the intersection of technology facades adopt different color palettes.
and media in the world of fashion. This intentional interplay of light and color
adds an extra layer of dynamism to Mode
Studios, making it a beacon of innovation
and creativity that subtly morphs with the
Render night view of the studies illuminated with leds.
natural rhythms of daylight and darkness.

60 61
 4.2.4 CONCLUSION

In conclusion of the concepts developed in this chapter, we can establish that the envelope or skin in archi-
tecture has several ways to present and the most common way is with the transparent qualities, because
the architecture tends to dematerialization.

The qualities that various materialities give, are transparent because they let light pass through them. Thus,
the envelope can occur translucent or provide a mediated image. And this has to do then, with the fluidity
and openness of our society and the birth of a new architecture of movement, intelligent and reactive, ie,
that react to their environment, like the skin of the human body, through technologies.

If the traditional facade was a mask seeping relations with the environment, contemporary skin is more
open and flexible, and able to respond to a world subject to constant changes and mutations.

62 63
 Steven Holl is an American archi-
tect graduated from the University
of Washington, in United States. He
also studied Architecture in Europe,
Rome and London. He began his
career in California, and established
his own company, Steven Holl Ar-
chitects in New York City.

Steven Holl Architects Steven Holl Architects

NELSON-ATKINS
MISURI, UNITED STATES - 2007
MUSEUM OCEAN AND SURF MUSEUM
BIARRITZ, FRANCE - 2014
The Nelson-Atkins Museum of Art is the main art museum in The Ocean and Surf Museum in Biarritz, France,
Kansas City, Missouri, in the United States. The original building of explores the surf, sea and recreational role, sci-
the Nelson-Atkins Museum of Art is a Beaux-Arts work in the early entific and ecological. The shape of the build-
30's designed by the local studio Wight and Wight. The building is ing born of the spacial concept under the sky,
still in use and in perfect condition. The concept of the new Bloch under the sea. A concave under heaven shapes
Building Museum, designed by Steven Holl focuses on two ideas, the character of the main outer space, the Place
the first is related to the original building by contrast while the sec- de l' Océan. The convex roof structure shapes
ond is to integrate the building with the landscape and works of the the exhibition spaces.
museum, making architecture part of the visitant experience.

The Bloch Building is built in translucent glass walls that

make up the volumes, and which are formed actually by
two walls of different crystals with enough space be- The spatial qualities are experienced from
tween them for the circulation of an operator. access, where the lobby and ramps offer a wide
aerial view of the exhibition areas with light and
64 movement. 65
 Max- A, is an architectural firm based in Santiago de Chile, was Simone Giostra graduated from the Polytechnic School
formally established in 2008. Maximiliano Noguera and Alejan- of Architecture in Milan, where he earned a Master of
dra Marambio are the architects who shape it. The office has Architecture in 1995. He is a member of the American
developed projects mainly in Chile, USA, Asia, etc. Institute of Architects and founding partner of Simone
Giostra & Partners, a full service company based in New
York.

Max-A Simone Giostra & Partners

CERO K FACTORY GREENPIX
SAN CARLOS, CHILE - 2014 BEIJING, CHINA - 2008
The project is located between The study Simone Giostra & Partners
San Carlos and Chillan, Chile. designed the urban GreenPix-Zero En-
The production process is manu- ergy Media Wall screen, which surround
facturing the product Zero K. The the Xicui entertainment complex in Bei-
building houses the production jing, China. GreenPix is a large scale LED
process, and is conceived from display for displaying dynamic content. The
a rectangular shed of 30 x 50 very large scale and low resolution of the
meters in two floors covered in screen, provide a form of art communica-
perforated steel plates accord- tion in contrast to commercial applications
ing insolation. In its center, the of high resolution screens on the facades
laboratory and production area of the conventional media.
have a height of 14 m. The latter
as support and project center, is
clad in transparent Sunlite Multi-
wall to the ceiling, and Multiwall
Sunpal translucent above the
ceiling. The glass curtain wall contains
photovoltaic systems that
collect solar energy during
the day and use it to power an
LED display at night. Greenpix
will be the first place in Beijing
dedicated to the work of digital
media. The project promotes
the integration of technology
without sustainable commit-
ments in the new Chinese
66 architecture. 67
 Enrique Ruiz Geli, is a
Spanish architect by
the ETSAB of Barce-
lona. His interdisci-
plinary team Cloud
9 is in Barcelona. His
career is essentially
focused on set design
and exhibition design,
but stands by its com-
mitment to a digital
architectural produc-
tion, deployed today.

Enric Ruiz Geli / Cloud 9 Enric Ruiz Geli / Cloud 9

HOTEL HABITAT The MEDIA -TIC building is an
innovative building designed to
MEDIA-TIC
BARCELONA, SPAIN - 2006 serve as a meeting point for com-
BARCELONA, SPAIN - 2010
The futuristic facade of the hotel, in Spain,
panies and professionals within
reflects at night, the time of the day. Three
the technology development
sides will be covered by a mesh of 6,500 de-
project focused on new technol-
vices, each with a photovoltaic cell, a battery,
ogies and knowledge located in
a computer and three leds. The facade of
the 22 @ district of Barcelona. The
Enric Ruiz Geli hotel for Habitat promoter vary
building is a cube with 4 facades
depending on the atmospheric and weather
different from each, that serve
stations as these light devices will function
specific functions depending on
as a thermometer of daily solar energy. The
their orientation . The drawing
hotel itself is a concrete structure that leaves
mosaic ETFE skin translates the
most of the facilities to the eye and has glass
forces exerted by the structure,
facades. On this inner body the skin of light-
which reveals a study of the forma
ing devices is situated, which sometimes is
to the smallest detail.
directly located on the glass surface creating
shadow areas that refresh the interior, and
other will distance itself from the facade cre-
ating a sort of veil with metal-shaped plot.

68 69
 4.3 OPACITY
Opacity, is necessary in a society where the limits are multiplied. This has to do with whether the network
space is fluid and flexible and extends like the skin of our body, this city is a set of isolated and closed
areas, and the relationship between them is due to the proximity between them and others. Transparency
becomes opaque, ie, worked on the effect of translucency, and is decorated and distorted to keep out the
light.

“If architecture is interpreted as language, most importantly is their ability to communicate, the facility to
transmit their images and stylistic elements”.¹

To meet the needs of privacy, the architecture transmits images and symbolism in its envelope. As com-
munication becomes the essence of every culture and every art, the mission of the architect as creator is to
study, and thus recreate formal codes.

Transparent and translucent buildings dematerialize by the play of reflections and transparencies that cre-
ate, as mentioned Josep Maria Montaner. So are lightweight, transparent and luminous architecture, which
also lie in optimizing the relationship with the environment, and developing ways by reflecting the vision of
natural light. It is also mentioned a tendency to neutral and to a minimum. And, returning to the communica-
tion skills of architecture, the work of Herzog and de Meuron is radical and focuses on contemporary archi-
tectural communication, “Thei work is oriented towards articulated conceptual transparency materials”.²

4.3.1 REFLECTIVE TRANSPARENCY

The interesting thing about glass such as transparent material is the amount of uses it provides, and not
only its status as literal transparency.

Glass can provide reflective qualities, ie, can reflect on its surface, surrounding, environment. The envelope
or glass skin is at the same time transparent and opaque as it presents reflections.“ The building box is
dematerialized between the presence of nature. [...] The vegetation merges with the building and plays to
expand reflexes and events of the urban environment”.³

Both works then, use the glass as a generator of reflections. In the first “The construction of a Cultural Cen-
tre in Beaumont-Hague, in Cotentin, means to integrate an architectural project which benefits

¹Montaner, Josep María: Formas del siglo XX, GG Editions, Barcelona, 2002.
²Ang, Wildfried: Herzog & de Meuron, GG Editios, Barcelona, 2000.
³Idem 18.

70 71
 from the landscape qualities of this piece of peninsula”.⁴ The second example is the Centre Hospitalier de The example of transparency discussed below represents the opaque reflective transparency treated by
Marne-la-Vallée, designed by Brunet Saunier, “The evanescent skin implemented here is an alternation of Josep Maria Montaner in Forms of the Twentieth Century. These transparencies seek to distort and dis-
transparency and opacity composed of respirable glass panels with integrated blinds and shadow boxes, guise the envelope. The example chosen is the Novartis Campus by Weiss Manfredi Architects.
whose silkscreen white vertical lines are repeated”.⁵

Novartis Campus - Weiss + Manfredi

“The Novartis Office Building is an oncology office building of 43,000 square meters at Headquarters of
North American Novartis”.⁹ This building is located in East Hanover, New Jersey, USA.

Espace Culturel de la Hague - Peripheriques Architects Hospitalier de Marne-la-Valleé - Brunet Saunier

“The images of the clouds of heaven, the presence of vegetation and urban environmental phenomena are
reflected in the building as a tulle [...]”.⁶

Photography of reflection in urban phenomena

On the other hand, in relation to urban phenomena, a photographic project of reflected cities from architec-
tural materiality by Andrea and Rob Stone is called City Reflections.“Images of colors, shapes and patterns,
represents how we put the discordant parts of our lives in the vicinity of each other, deconstruct an experi- The building has a mixed envelope, combining wood finish and free sections of columns and clear glass, in
ence, embellish, elaborate and abstract the simple, the ordinary that life is”.⁷ spaces as main areas of work that are full of light and also configured so that there is maximum flexibility
and good interdisciplinary collaboration. The envelope, in other opaque sectors, dresses the building in a
curtain wall with acid etching, reflective glass and clear glass. In this way, the building reflects the land-
scape and introduces an innovative language in its facade, in the areas where the program has privacy re-
quirements and privacy for users. As energy saving material, the reflective glasses were created to increase
the amount of solar radiation reflected out of the building, ie, they are important regulators that prevent solar
gain inside and thus save energy. These decrease sunlight absorbing glass itself and this is achieved by
coating one face of the glass with a thin metal layer.

According to Josep Maria Montaner, “transparent and translucent buildings dematerialize by the play of
reflections and transparencies that create”.¹⁰ But to complete, the need of reflective transparency, is a factor
“We are offered the intuition of an architecture of pure present. For its contrast between opacity and trans- that is not only linked to dematerialization. The reflective glass also does not allow viewing from the outside
parency, by the impeccable geometric patterns, by simultaneity and movement that glass windows create to the illuminated more intensely sectors (which become mirrors generators opacity), also they camouflage
[...]”.⁸ themselves and merge with the landscape.
⁴Peripheriques Architectes-Marin-Trotti Architects: cita, http://www.plataformaarquitectura.cl/cl/783602/espacio-cultur-
al-de-la-hague-peripheriques-architectes-plus-marin-plus-trotti-architects/
⁵http://www.plataformaarquitectura.cl/cl/784838/centre-hospitalier-de-marne-la-vallee-brunet-saunier/
⁶Montaner, Josep María: Formas del siglo XX, GG Editions, Barcelona, 2002.
⁹http://www.weissmanfredi.com/project/novartis-office-building/
⁷Stone, Andrea: quote, http://www.arstonephotography.com/galleries/galleries.php?gallery=city/
¹⁰Montaner, Josep María: Formas del siglo XX, GG Editions, Barcelona, 2002.
⁸Idem 23.

72 73
 “The result is a perfect transparency, the building becomes part of nature”.¹¹
4.3.2 SILKSCREENED
In architecture masking, disguise, works with a similar mechanism, since as the limits are necessary, it is also
necessary to modify them, dressed up them, retouch them, displace them, to camouflage them, so that they
TRANSPARENCY
may exist as a part of the landscape. If the facade expresses the relation of a defined architectural object with
The glass also offers a complexity of responses to different lighting conditions, and aesthetics, such as by
a natural or urban context, the skin like a dress, allows to act with specific adaptation strategies, both to the
superimposing serigraphy, on the facade. The glass allows to increase the plastic complexity of a building
physical environment (ecology) and to the virtual networks.
without complicated shapes and can play with light as how to program the space.

“On the flattened surfaces of the glass cube, superposed on each other, a set of amorphous densities is
given. Transparency becomes opaque showing its character of ambiguity and ambivalence in the organiza-
tion of the building and its materiality, leaving the individual who observes suspended in a difficult moment
between knowledge and obstruction within an experience, that is both outside reflections on your own
image as on the infinite penetration into images that overlap”.¹²

The following works, are an example of the use of screen prints on glass to create an opaque appearance
and give the envelope of various own meanings of contemporary society in which the image is the primary
figure.

Thus we can conclude that masking is a phenomenon related to disguise and perception, which generates
The density of glass pattern varies in Kraemer Radiation Oncology Center, to generate transparencies when
confusion or cancellation of a perceptual stimulus by superimposing another. This means that an item
desired and privacy when needed. While in the Learning Center students at Ryerson University, the pattern
sticks out and erases the perception we have of the other elements, as in this case the reflection of the
is repeated in the same manner throughout the enclosure. In conclusion, it is the intensity pattern which is
glass panels, which produces the sensation of an endless landscape of the building envelope.
related to the insolation and inside each building program, therefore comes into existence opacity based on
specific programmatic requirements.
As the limits multiply, they enlarge and dematerialize, while masquerading in a new dimension of ecology in
this age of technology.

Kraemer Radiation Oncology Center - Ryerson Students Learning Centre -

Yazdani Studio of Cannon Design Zeidler Partnership Architects + Snøhetta

¹²Artiles Burgos, María de la O: quote, Doctorado, Departamento de la Expresión Gráfica, Diseño y Proyectos, Universidad de
¹¹Montaner, Josep María: Formas del siglo XX, GG Editions, Barcelona, 2002.
Málaga, http://journals.uoc.edu/index.php/artnodes/article/view/n15-artiles-boned/2716/

74 75
 Herzog & de Meuron, in its architecture, use silkscreen on glass and thus they achieve an effect that Silkscreened art by Jan Hendrix
involves a sensitive search of a skin in which the formal qualities of the building and the strong content, so
they make the architecture return to its primary condition as a generating space envelope. They work in this Orienting to a specific artistic work in the field of architecture, Signs of Origin, is a project carried out by the
direction from the beginning, and fashion far from being superficial with respect to architecture, represents artist Jan Hendrix and his studio, in which three fronts of tempered glass were implanted with serigraphs in
for them, next to contemporary art an expression of the sensitivity of the times and is the expression of our The Design, Film and Television Center in Mexico city .
time.
“In this project, I represented the Lacandon jungle in its primary, simple and pure form, on the facade of the
They shifted the attention to what surrounds us, from what people get to that kind of artificial skin that building. On a trip through the jungle, I decided to pick up the smaller materials and so I started to collect
eventually becomes the most intimate part of people. And as we choose and create our clothes, we also seeds; when I realized they were all different, I thought it could form a kind of primitive alphabet. The seeds
create our own architecture. As is shown in Eberswalde Library and in Cottbus Library. In both, “the skin of printed on tempered glass, positive and negative, seem to be encapsulated waiting to be sown and thus
the building is formed by glass panels engraved with enamel”¹³, ue, skinscreened. transformed into trees, plants and fruits. This idea relates to students who are formed and developed in a
design school”.¹⁶

Eberswalde Library Cottbus Library Library of Utrecht University - Wiel Arets

The Library of the University of Utrecht , is the example that was taken to represent the silkscreened trans-
The architects explain that the facade should not reveal anything about the truth or the building structure, parency, which becomes the last slide of this research, which is analyzed based on the Wildfried Ang book
nor about the materials for them “The skin is a continuous entity involving sutureless, with alternating hori- on architecture by Herzog & de Meuron.
zontal bands, the built device, with hardly perceived doors and windows; but is also a tight skin, through a
leveler treatment silkscreened glass [...]”.¹⁴ The Library of the University of Utrecht, is located on the campus of Uithof in Utrecht, Netherlands. The
program brings together the library itself, a cafeteria and a parking lot.
This indicates that the architecture of Herzog & de Meuron is oriented to a search for an aesthetic language
in the architecture of the envelope from the art and as Jacques Herzog says, “Collaborating with an artist The serigraphs of which is formed the skin of the building, carry an abstract image of fossilized papyrus, the
simply adds another dimension. It has much to do with the decor, with surfaces. The artist is much more relief of the image was printed on concrete panels, which are the same size as the glass panel , and togeth-
used to consider the issue of surfaces than the architect, and we try to address this issue in our architec- er make up the facade of the building.
ture. It is almost inevitable that art and architecture intertwine”.¹⁵
The library appears in this context as a solid composition volume, causing an alternating game of transpar-
ent and opaque panels in the facade.
¹³Ang, Wildfried: Herzog & de Meuron, GG Editions, Barcelona, 2000.
¹⁴Idem 27. ⁶Hendrix, Jan: quote, http://www.plataformaarquitectura.cl/cl/778642/jan-hendrix-en-la-arquitectura-huella-holande-
¹⁵Herzog, Jacques: cita, Ang, Wildfried: Herzog & de Meuron, GG Editions, Barcelona, 2000. sa-en-mexico/

76 77
 In this work there is no visual masking, unlike reflective transparency that camouflages with the landscape. According to Jacques Herzog, “The rectangular body of the building is completely covered, almost dis-
These serigraphs not resemble the natural environment where the work is located, so confusion is not solved. On the other hand strict and rigorous form destroys individual reason, ie, the image is no longer
generated in the visual perception of the architectural object and perfectly distinguishes the figure from the perceived or considered important as a singular image but effectively becomes a series, an ornament, so
background. it is effective in two directions. This indeterminacy, this movement forward and backward between volume,
surface and space, break the traditional categories. And it's probably where we're headed unconsciously,
towards disintegration of the traditional categories, because they are no longer important”.18 This goes to
explain how traditional architecture disarms and new architecture is aimed at the destruction of individual
motives and the construction of globalization.

Transparency becomes makeuped and distorted. Indeed, the society we live in is basically characterized by
control and entertainment, as Subirats says, “If we can not make sense of the world, at least we can trans-
form it into a delirious spectacle”.17

These silkscreen add some vertical movement of the skin composition. Some of the glass panels are du-
plicated and move a little out of the front line, so that generate a three-dimensional effect and help regulate
the sunlight, to protect library books softening the amount of light entering inside the building. Its opening
is automatically controlled in relation to sun exposure. Black concrete surfaces of the library are also printed
with silkscreen, this black color is essential to create an indoor environment full of concentration in the library.

¹⁷E.Birats: Desaprendiendo de las Vegas, Astragalo, 2001. ¹⁸Herzog, Jacques: cita, Ang, Wildfried: Herzog & de Meuron, GG Editions, Barcelona, 2000.

78 79
 4.3.3 APPLICATION TO
THE TV STATION
The spaces designated by the program required complete enclosure. Technical areas situated between the
recording studio sector and the public volume containing the bar's kitchens and bathrooms were deliber-
ately sealed off with walls.

Addressing opacity requirements within the TV Station, especially in transparent areas exposed to solar
incidence, was tackled by drawing inspiration from the color scheme of the Laban Centre by Herzog & de
Meuron. The chosen pastel colors, while consistent with the overall intervention, lacked a specific rationale.

In response, the proposal sought to mask or camouflage the envelope, fostering a stronger connection
with the green sectors of the building and its surroundings, notably the Mafalda square, Channel 9, and the
Flea Market. Reflective glass panels, interspersed with acid-etched glass panels, were selected. Reflective
panels, being more opaque than their acid-etched counterparts, were strategically placed on facades with
greater solar exposure. This arrangement created a deliberate alternation between reflective and ac-
id-etched panels, preventing direct solar radiation.

This aesthetic decision, tailored to the producer's use and the nature of a fashion television channel, gave
rise to a mirrored envelope that reflects the environmental events of the audiovisual district. This mirror
effect establishes a visual connection with the context, allowing observers to see the surrounding green
spaces and buildings. The TV Station's envelope transforms in tandem with changes in its context.

The mirror effect bestowed upon the TV Station is not just a stylistic choice but resonates with the con-
temporary societal emphasis on image and visual dominance. It serves as a literal metaphor, echoing the
dynamism of fashion and the aesthetic inclination to observe and present diverse styles.

80 81
 Render and envelope detail

O PA -
composed of the panels, lo-
cated parallel to the building
curtain wall.

CITY
MODE STUDIOS TV STATION

Facades composed of
reflective panels and etched
with acid. On the left, Conde
facade, with fewer panels,
located in the area between
sets.

The skin of the public administrative volume and the intermediate sector where
the recording sets are located, is a mix of etched with acid and reflective glass
panels, so that reflections connect the building with the landscape of green
sectors. Above, detail mix of
panels. The facades
with more solar inci-
Exterior renderings. dence are the ones
Up view, the sector parallel to the Conde
between volumes and street, in front of the
the skin that forms the Channel 9. Above
administrative public facade view.
volume with a mix of
reflective panels and While lower incidence
etched with acid. facades are parallel
to the street General
On the left, outside Enrique Martínez, that
view from the green subtly reflect the Flea
sector that is connect- Market . Below facade
ed to the bar, the skin view.
with reflective panels
reveals the environment
where the TV Station is
located, which brings
together the Mafalda
square and residential
buildings in the area.
82 83
 4.3.4 CONCLUSION

The envelope sheds its formal and communicative obligations, transforming into a versatile actor capable
of assuming different roles. In the absence of a rigid relationship between architecture and program, a bank
need not resemble a theater or a park. The skin, akin to networks, forms a fabric enveloping us—a projection
of the virtual dimension in an interconnected world where traditional boundaries supposedly dematerialize.

This marks the conclusive statement of the thesis, affirming that the dematerialized skin, transparent and
reflective of the virtual realm, is liberated from any formal commitment to communication with the envi-
ronment. Consequently, it can manifest in diverse forms, generating various visual discourses that oscillate
between fluidity and opacity.

The disappearance of borders stands out as a compelling strategy and metaphor of the electronic para-
digm, placing us in a fluid world mirroring the digital state itself. The heightened transparency of limits, and
even their obliteration in favor of fluid spaces, represents one of the most captivating aspects of contem-
porary architectural proposals. Here, the facade loses significance, making way for a membrane that can
adapt, conceal, and emulate the sensitivity of the human body.

Yet, the imperative of opacity persists in addressing the essential needs for privacy and intimacy. In conclu-
sion, there is the individual and the private on one side, and the collective, the world, and the public on the
other—each requiring distinct treatment. While architecture may transcend traditional boundaries, it can
never dispense with its enclosed and private aspect, forever necessitating doors and boundaries.

84 85
 Périphériques is a study of French architecture that
provides a production team work based on negotiated
and shared ideas, and multidisciplinary activities. It is
currently run by two bodies, Anne Françoise of Jumeau
architects and Marin + Trottin Architects.

Brunet Saunier is a study of French

architecture, directed by several archi-
tects Jérôme Brunet, Vincent Marchand,
Jacques Lévy- Bencheto, Régine Le
Couteur and Gerold Zimmerli.
Peripheriques Arquitectos Brunet Saunier
LA HAGUE
COTENTIN, FRANCE - 2015
MARNE-LA-VALLÉE
JOSSIGNY, FRANCE - 2012
The Centre Hospitalier Marne-la-Vallée, is
The construction of a cultural center in Jossigny, France. The hospital is a com-
in Beaumont-Hague, in Cotentin, plex program that transmits sensations on
France, means integrating an archi- the viewer, with a complete organization in
tectural project that benefits from the a small town. The Disney Channel company
landscape qualities of this piece of has worked since the 90s, to the econom-
peninsula. ic and urban development. The choice of
architects to design a unique compact
The cultural space is a compact block, building, required perfect flow manage-
43 m wide and 11 m high. ment, security, performance and light.

The changing play of the skin, the

presence of the reflections on the
glass curtain wall and the produced
lightness, are perceived. The building The implemented skin is an alternating trans-
combines versatile program, music parency of reflective and opacity.
86 and nature. 87
 Weiss Manfredi is an American Architectural studios Zeidler partnership of
architectural studio consisting of Canada and Snøhetta, an office of landscape
Marion Weiss and Michael Manfre- and interior architecture, designed together the
di. The studio is characterized by Student Learning Centre of the Ryerson Uni-
clarity of vision, daring and iconic versity located in Toronto.
forms and materials innovation.

Weiss + Manfredi Zeidler Partnership + Snøhetta

NOVARTIS CAMPUS RYERSON CENTRE
NEW JERSEY, UNITED STATES - 2013 TORONTO, CANADA - 2015
The building is an office building of oncol-
ogy at the headquarters of Novartis North
Designed by architects Zeidler and Snøhetta, the Student Learning Cen-
America. Five floors of workspaces offices
tre at Ryerson University in Toronto, Canada, provides students with an
open up the building. The work areas are
exceptional college to study, collaborate and discover environment. It has
full of light and are configured for maximum
a glass facade, an elevated plaza, a bridge to the existing library, and a
flexibility and interdisciplinary collabora-
range of academic spaces, study and collaboration. Light and clear glass
tion. The skin is a mixed acid curtain wall,
skin has a surface design that creates variable quality light in the interior
engraved reflective and clear glass, the
spaces. With full digital support and accessible academic services, the
building reflects the landscape and intro-
Student Learning Centre promotes educational success and help pro-
duces innovation.
mote a culture of collaboration and creativity among students of Ryerson.

88 89
 Yazdani Studio is a studio formed by a group Wiel Arets is a dutch architect, architectural
of architects led by Mehrdad Yazdani, a rec- theorist, urbanist and industrial designer. He
ognized member of the design community, is currently the Dean of the Faculty of Archi-
able to fuse architecture, art, creativity and tecture at the Illinois Institute of Technology
design. in Chicago. He founded his own studio, Wiel
Arets Architects.

Yazdani Studio of Cannon Design Wiel Arets Architects

KRAEMER CENTER
CALIFORNIA, UNITED STATES - 2015
UTRECHT LIBRARY
UTRECHT, NETHERLANDS - 2004
The building is located in Anaheim, CA, USA. Traditionally, radi- The library located in the Netherlands, appears in this
ation treatment centers are placed below ground to accommo- context as a solid composition of volumes on, showing
date the heavy equipment and radiation shielding. The health a game of alternating transparent and opaque panels
system tried to create a medical center that takes its radiation in the facade. They are blurred due to repeated, printed
oncology services above the ground and into the light, improv- textured glass and carved in relief on black concrete
ing psychological activities of affected patients. The exterior panels of opaque sectors. The texture is a pattern of
facade of glass improves the shape of the building and cre- trees of the forest, which adds a little vertical movement
ates an inner-outside connection with a personalized crystal to the composition of the facade. Some of the glass
pattern that reflects the surrounding landscape. The density panels are duplicated and slightly sloping of the facade
pattern glass varies to give transparency when desired and line, so they are three-dimensional and thus help regu-
privacy when necessary, according to the building program. At late the sunlight.
night, the building emits a warm glow that acts as a beacon of
hope for all those affected by cancer.

90 91
 The library of the Cottbus University, designed
by Herzog & de Meuron was built in the city of
Cottbus, Brandenburg state, Germany.

The amoeba-shaped design of the plant

appears to be an outcome of the natural flow
of the landscape, prompting viewers to ponder
whether it is a product of sheer happenstance
or a manifestation of the architects' sponta-
Herzog & de Meuron is a prestigious Swiss group neous artistic inspiration and personal senti-
composed of architects Jacques Herzog and ments.
Pierre de Meuron. The headquarters is located in
Basel, although currently there are satellite offi-
ces in Madrid, Beijing, London and New York.
Herzog & de Meuron Herzog & de Meuron
EBERSWALDE LIBRARY
EBERSWALDE, GERMANY - 1999
COTTBUS LIBRARY
COTTBUS, GERMANY - 2004
The School of Eberswalde is divided among a group of nine-
teenth-century buildings that differ considerably in size and style. Abstract pattern of the skin is revealed as an
The new library is a rectangular building with three similar styles array of overlapping characters with alphabets
for free access libraries. A glazed landscape links this new con- of the world. The letters serve as a generalized
struction of a historic building where papers and books are stored. representation of literature stored within. The
Prefabricated concrete panels are similar to glass, and are print- pattern varies to control solar gain.
ed by screen printing on specialized expertise. The basis of the
reasons for photo prints is discovered by the artist Thomas Ruff in
magazines he accumulated in recent years in his private collec-
tion. Appropriate motifs were selected and placed in the horizontal
bands extending around the facade. The differences between the
concrete and glass are void.

92 93
 5 TECHNICAL
FOLDER
5 Technical Folder
5.1 Balance surfaces
5.2 Model detail
95
97
97
5.3 Structures 98
5.4 Electricity 101
5.5 Sewer and CW/HW 105
5.6 Thermomechanical 111
5.7 Fire 117

94 95
 5.1 BALANCE SURFACES

5.2 MODEL DETAIL

96 97
 5.3 STRUCTURES

First floor
98 99
 5.4 ELECTRICITY

Structural floor Ground floor

100 101
 First floor Second floor
102 103
 5.5 SEWER & CW/HW

Third floor Ground floor

104 105
 First floor Second floor
106 107
 Third floor Sanitary nucleus detail
108 109
 5.6 THERMOMECHANICAL

Ground floor
110 111
 First floor Second floor
112 113
 Third floor Ceiling floor
114 115
 5.7 FIRE

Fan-coil and VRV section Ground floor

116 117
 First floor Second floor
118 119
 Third floor
120 121
 6 BIBLIOGRAPHY
6 Bibliography 123
6.1 Books 124
6.2 Written and Articles 124
6.3 Electronic Sources 125

122 123
 6.1 BOOKS 6.3 ELECTRONIC SOURCES
Ang, Wildfried: Herzog & de Meuron, GG Editions, Barcelona, 2000. https://es.wikiarquitectura.com/index.php/Museo_de_Arte_Nelson_Atkins._Bloch_Building/

Biló, Federico: Rem Koolhaas: Bigness, Edizioni Kappa, Roma, 2004. https://es.wikipedia.org/wiki/Edificio_Media-TIC/

E.Birats: Desaprendiendo de las Vegas, Astragalo, 2001. https://mgbarahona.wordpress.com/2011/09/22/fachadas-construidas-con-electricidad/

Ito, Toyo: Forces of Nature, Jessie Turnbull, Princeton Architectural Press: Nueva York, 2012. http://www.22barcelona.com/content/view/41/427/lang,es/

Ito, Toyo: Tre trasparenze, Electa, Milán, 2001. http://www.arstonephotography.com/galleries/galleries.php?gallery=city/

Montaner, Josep María: Formas del siglo XX, GG Editions, Barcelona, 2002. http://www.plataformaarquitectura.cl/cl/02-292996/centro-de-frac-de-turbulencias-jakob-macfarla-
ne-architects/
Rowe, Colin y Slutzky, Robert: Transparencia: literal y fenomenal, Gustavo Gili, Barcelona, 1998
http://www.plataformaarquitectura.cl/cl/778642/jan-hendrix-en-la-arquitectura-huella-holande-
Ruiz Geli, Enric: MEDIA-TIC Building, Actar D, Barcelona, 2011. sa-en-mexico/

Trovato, Graziella: Des-velos, Akal Editions, Madrid, 2007. http://www.plataformaarquitectura.cl/cl/783602/espacio-cultural-de-la-hague-peripheriques-architec-

tes-plus-marin-plus-trotti-architects/

http://www.plataformaarquitectura.cl/cl/784838/centre-hospitalier-de-marne-la-vallee-brunet-saunier/

6.2 WRITTEN AND ARTICLES http://www.weissmanfredi.com/project/novartis-office-building/

Ainara Cuenca, Juan; Solé Andreu, Irene y Vázquez García, Miguel Ángel: Límite y percepción en la arqui-
tectura, Valencia.

Artiles Burgos, María de la O: cita, Doctorado, Departamento de la Expresión Gráfica, Diseño y Proyectos,
Málaga University.

Barria Chateau, Hernan: Desde la transparencia a la desaparición de la arquitectura, Bio University, Chile,
2007.

Saucedo Rodríguez, Christian: Pantallas Urbanas: La fachada mediática, de lo particular a lo general, Escuela
superior técnica de arquitectura de la Universidad de Sevilla, Sevilla, 2008.

Sejima, Kazuyo: cita, El croquis Kazuyo Sejima y Ryue Nishizawa 1995-2000: trazando los límites, El croquis,
Madrid, 2001.

124 125
The purpose of this project
is to explore a distinct
language through the use
of transparencies, grounded
in aesthetic considerations
and responsive to visual
and functional requirements.
This exploration is conducted
in light of the current societal
context and the evolving
demands associated with
the progress and growth
of cities.
The work involves
the examination
of various types of transparencies,
each imparting a
transformative effect
on the visual perception
and fostering a dialogue
with the environment.
In each case, the study
delves into the materialities,
technology,
and aesthetics employed,
considering their interconnected
relationship within the given context.
ARCHITECTURE AND URBANISM
126