part 2 compostela institute student work 2010-2013

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C O M P O S T E L A S U M M E R P R O G R A M | W W W . C A I N S T I T U T E . E S | G A L I C I A | S P A I N

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I N T R O D U C T I O N P R O J E C T 1 - “C I U D A D D A C U L T U R A “ P E D E S T R I A N C O N N E C T I O N S

P R O J E C T 2 - H O U S E F O R A R T I S T S , B O N A V A L P A R K

P R O J E C T 3 - P I L G R I M A G E R O U T E T O S A N T I A G O

A L U M N I - G R O U P P H O T O G R A P H S


I N T R O D U C T I O N 2 0 1 0 - 2 0 1 3 T e x t b y P r o f e s s o r A l b e r t o F o y o

The students were offered two environments in which to intervene; The jardines de Bonaval, developed by Alvaro Siza and the landscape architect I.Aguirre and the monte Gaias, a hill adjacent to the so called “Ciudad de la Cultura”, by the American architect Peter Eisenman.From a pedagogical point of view we formulated this studio around a medical metaphor. After traversing both sites the students identified Bonaval as a healthy en-vironment and the Ciudad de la Cultura as an unhealthy environment. The question became one of whether, given the choice, the architect should act on a healthy or an unhealthy body/place. The argument developed that if you are healthy you don’t need a doctor, if you are sick you do. The same argument followed that preven-tion constitutes the best medical treatment; in the case of “Ciudad de la Cultura” it is obviously too late for that strategy. The next most important moment in medi-cal terms is that of making the right diagnosis and subsequently applying the most judicious and hopefully least invasive treatment. The acupuncture metaphor was presented to the students as an urban design alternative to yet another potential invasive intervention.

The students decided unanimously to dedicate the studio-workshop to develop a non-invasive scheme to link the Old city of Santiago to the new “Ciudad de la Cultura”. As an obvious result it was decided to act as a team instead of individually so as to map the character of the site in a more holistic and comprehensive way. Extensive research of the territory was done in situ; the students’ bodies becoming pencils themselves slowly drawing on the field while unveiling the archaeology and the history of the place; while discovering, identifying and marking potential sites within the site that would inspire local culturally inflected interventions and/or installations. In an all too modest strategy the objective became one of tapping into an existing undervalued- dormant infrastructure, semi urban and semi rural, with an ill defined pre-human scale and an ambivalent human scale. Abandoned ruas, ruined stone walls, lethargic water fountains, topographic accidents, laberinthic nooks and corners, ancestral trees, all proved to inspire the students in their understanding of the past, the present, and a possible foreseeable future based on the no-tion of cultural sustainability; a cultural sustainability that can perhaps help to override the uninspiring tabula rasa of mega government decision making.Each student selected two concrete points where to propose an intervention; twelve of them altogether in what ended up constituting an open ended, loosely knit lace work meant to awaken the forgotten genius loci that lies between the old city and the unforgiving presence of “the new city”. They were free to create the program for each intervention but an emphasis was indeed placed on the architect’s responsibility to help healing, that is to say his responsibility to think simultaneously about how to build (ie: technique & technology), where to build (ie: site & context), and what to build (ie: program). Equal emphasis was placed on how not to build, where not to build and what not to build; a logical corollary to the understanding of cultural sustainability.

I was surprised with the modesty of most of the proposals; refreshingly surprised. No parking structures, no aqua parks, no cable cars to be found. The final results felt like a candid and evocative antidote on the face of an understandably politicized and provocative context. In essence the pedagogical intent of the studio was to foster the use of both intuitive feeling and critical thinking as complementary tools in the design process. Similarly we stressed throughout the workshop the re-thinking of typical dichotomies, ie: tradition-modernity, rural-urban, natural-manmade, space-place, genius loci-locus geni, etc, not as sets of pathological op-positions but as complementary concepts. By proposing that it is actually in the overlap between the two sides of these dichotomies where the richest design solu-tions can usually be found the students were encouraged to listen to the site from different angles and thus think outside the “box” without necessarily resorting to over-aesthetisized designs. An open round table discussion between Juhani Pallasmaa and myself hopefully helped to anchor the students’ sensibilities in this regard. Similarly a series of parallel lectures throughout the duration of the studio emphasized the anthropological, archaeological, sociological, and phenomenological roots of architecture; all of them organically supporting the objectives of the studio. In the end result I like to think that this studio offered the students the opportunity to design stereoscopically, that is to say allowing for both their sensual sensibility and their social sensibility to act in balanced dialogue with each other.

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The workshop proposes a variety of schemes to link the Historic core of Santiago de Compostela to the new so-called “City of Culture”, a large complex of buildings at the top of Mount Gaias, containing a library, auditoria, exhibition galleries, restaurants, shopping, indoor and outdoor meeting spaces, and various other functions. While easily accessible by car, this complex, which pretends to be a “new city”, is virtually disconnected from the other neighborhoods, as there is currently no pe-destrian route leading to Mount Gaias.

The investigation begins with extensive research of the territory and surrounding neighborhoods. Parallel lectures by historians, archaeologists, anthropologists, landscape architects, and builders complement the work of the studio as we attempt to uncover and define the history of the place.The project becomes one of mark-ing the ground to trace the “paths” from the old city to the hill, conceptually and physically removing archaeological layers of the site, rather than inserting archi-tectural objects onto the site. This on-site research becomes most productive as students travel through the neighborhoods, speak to residents, and discover forgot-ten fragments and traditions - collecting a kind of architectural folklore that will inspire carefully moderated interventions at specific points along the way. Modest landscape works, many aimed to recover local infrastructure, and small public structures are strung together like beads to define nodes along each path. Projects include: public patios and terraces overlooking Santiago’s historic center, small amphitheaters, resting places, walkways, fountains, stairs, and gardens; others focus on a larger part of the landscape, proposing to recover and “reforest” wide areas of Mount Gaias while also creating pedestrian routes to the city.


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The concept is to work with the potential and materials found on the site. The site is located between the two “cities” - the City of Culture and the histocial center of Santiagode Compostela. The goal is to make connections both physical and visual. The key point is to work with the materials on the site, history and potential. The large area of 300000 square meters requires a variety of uses, both public and private. The upper part of the slope has never been cultivated because of the steep hill and rock right belowthe surface. My proposal is to move this remaining soil to the lower part and provide enough soil for trees to grow. The trees are situated in a ring creating a visual barrier and shade between the public space terraces curved in the rock and private agriculture below. People who wish to access the city of culture or just to walk their dog have to take the closest path between the fields (compression), then to pass the barrier of oaks (revealing), and appear below the terraces. They can take a number of stairs leading up, they can follow the path traced in the wild grass or find their own. When the soil is too wet they can walk on the wide edges of the terraces and experience the massiveness of the rock, the textures, colours, smell. If someone follows the terrace edge long enough it will reveal to them a totally different experience. The path stays the same but the surroundings change to massive natural rock.- Marek Kundrata


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We were asked to create a connection to the new city of culture, projected by Architect Peter Eisenman, located at the top of the Gaias Hill in Santiago de Compostela. My proposal was to create an infrastructure that, beyond the physical connection to the top of the hill, also mediated Eisenman’s project with old Santiago. The project becomes a series of paths that connect the bottom of Gaias hill with the City of Culture at the top. The paths are aligned with some of the surrounding elements and are cut into the ground in an act of subtrac- ting what is existent, the wild landscape, and replacing it with the rigid geometry of the paths. Along the way areas with flexible program are introduced. These areas can be used for outdoor concerts, theatrical performances, gatherings or simply to rest and enjoy the views towards the old city. - Mark Rego


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Cutting open into the sloping site, this landscaped void provides a continuation and a formal connection between the settled outskirts of the historical city of Santiago de Compostela and the new “City of Culture” that was originally envisioned by Peter Eisenman. Providing this void between the past and the present gives a chance for time to set the tone of the dialogue between these two entities. As a result of scattered planted conditions, the gardens and the landscape elements will create unique experiences depending on certain times of the season. The open yet sheltered void aims to continue and reflect the containment of movement and life within the sheltered and open streets of Santiago. Comprised of two mono-lithic retaining walls buttressed by walkways and planters, the gardened path opens at the foot of the hill, compresses at the middle, and then opens again at the plaza of Eisenman’s building complex.- Alfredo Pimentel


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Mediation not ConnectionThe tension between the ancient city of Santiago de Compostela and the so-called city of culture is both physical, in that the new building is out of scale with the rest of the surround-ings, and in a less tangible subconscious way, with the use and program being relatively undefined such that there is a void to be filled with ‘something’. My project seeks to further illustrate this tension with a landscape gesture which hints toward the ‘connection’ requested in the design brief, but stops short of actually connecting the ‘City’ and the ‘City of Culture’, while providing a series of open spaces for visitors to look back toward the ‘Old City’, the real reason people come to Santiago de Compostela. The mediation also happens between the natural landscape and the hardscape of the stairs in a gradiation of natural landscape, softened ‘lawn’, pea-stone and then granite hardscaping in a secondary gradient created laterally on site.- Grant Scott


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Students were asked to come up with a site intervention on a large sloped hill between the new “City of Culture” designed by Peter Eisenmen and the Old City of Santiago de Compostela that would act as a connector between the two. The proposal for our intervention included activating the existing space by creating a field condition that allows the site to grow organically overtime. Due to the heavy amounts of rainfall in Santiago, we interpreted the site as a potential water drainage system. Taking the simple idea of water flowing down to the river, situated at the bottom of this terrain, we channeled the rain water down in small canals. These canals are paired with a walkway so the visitor is always surrounded by water. Throughout the progression from either direction, the areas around the path and canal are developed as public plazas where the water is either collected in a pool, used as irrigation or directed to the river. Using the process of triangulation, the site slopes are exaggerated to create valley and peak conditions to manage the water. Manipulation of these triangles then creates all kinds of opportunities to create various public spaces such as shelter spaces, pools, plazas, planting zones and irrigation fields. - Ravie Bath and Kelly Shaw




Growing Diagram

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Site Plan1 : 2000

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The project that was produced was in regards to making a connection between Santiago and Peter Eisenman’s project that is located on the hill adjacent to the city. The problem that the group faced was how to connect the two together to create a single city. This proved to be difficult as the existing city is a walking city and the current means of travel to Eisen-man’s Project is by other means of transportation, either by bus or car. The group determined that with new pedestrian pathways through the city that had destination points along the way, such as rediscovering hidden spaces within Santiago and reviving areas with new plazas, would prove to integrate Eisneman’s Project within the existing urban fabric.- Sean Owen


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Our team project was geared towards urban planning. We had to focus on site analysis and, based on these findings, to design a series of urban interventions and installations. These holistic interventions are intended to create a dialogue between the old city of Santiago de Compostela and Peter Esienmanʼs so-called City Of Culture. We immersed ourselves in the urban character, cultural genetics, and ambiance of the town, and through a series of lectures and tours we became aware of how to be socially responsible as architects. This involved the study of: the symbiosis of the old and the new, urban character, interrelationships of spaces, social genetics, and the activation of spaces through the recapitulation of the local vernacular.- Zane Bell


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The Galician Center of Contemporary Art was designed and built by Portuguese architect, Alvaro Siza, between 1988 and 1993 in Santiago de Compostela. The museum is within the grounds of the old convent Santo Domingo de Bonaval. Bonaval Park, recuperated at the same time by Siza and landscape architect I.Aguirre, is located on a hill just above the museum and convent and has sweeping views over the city of Santiago de Compostela. The continuously varying, ascending, non-parallel platforms of the park are influential in developing the ordering alignments of the new museum building that creates a harmonic completion of the hill towards the street. Following a rigorous investigation into the history and archaeology of the convent grounds, A.Siza and I.Aguirre created a dialogue between the old and the new, recuperating ancient stairs, fountains, and walls, planting new trees, re-tracing paths, and carefully inserting new elements to both maintain and reinterpret the landscape.

The program for this summer project is a community for visiting artists, invited by the Galician Center of Contemporary Art to live and work in Bonaval Park for a period of six months. The spaces need to take maximum advantage of natural light and be suitable for any type of artwork. The program includes: housing for seven artists with a communal kitchen and dining area, indoor and outdoor art studios, a library, and a small exhibition gallery. The projects require an extreme level of sensitivity to the surrounding landscape, climate, and regional building traditions; Design and detailing of exterior spaces, which could include terraces, patios, outdoor work space, stairs, ramps, and walls, is encouraged. Students will work as a team to research the site, including an analysis of the many historical and ar-chaeological layers present here, from the ancient to the new interventions by Alvaro Siza. The artist community will be understood as a continuation of this layering process, and architecture - as a means of revealing, framing, and transforming the history of a place.


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Recognizing the previous work in Bonaval Park by Alvaro Siza, the House for Artists is seen as a continuation of his logic in making further developments to the park. Away from the excellent spaces created by Siza and the pristine natural spaces between the numerous oak trees, the project is located at the top of the hill. At this site, Siza’s logic is continued to create two different terraces allowing the existing landscape to continue flowing up. The idea is then leveraged further to house the program under the two terraces: The upper terrace houses the private functions in the program while the lower terrace houses the public spaces. To bring light into the spaces, courtyards are created, allowing adjacent rooms to receive light.- Jin Park


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Seven spaces for seven invited artists. In Santiago de Compostela’s Bonaval Park designed by Alvaro Siza, I have created a new space to live, work and comunicate in. This park is rich with different impressions, shapes, light and views, which all change constantly when walking through. At the same time, there exists an interesting interaction of a few elements composed in many different ways – all protected by its old surrounding stone walls. By the procession of the paths arises a ditstancing to the city. The open and geometrical land-scape next to the CGAC guides one into a more natural environment. Light alternates, surface changes, materials become less controled. My proposal is to add a respectful gesture to such a complete space: Following the concept of procession through the park, the new buildings track the topography of the space and the development of the existing paths. The visitor is guided naturally through the public spaces into the more private courtyard of the composition. Referring to Santiago’s monastic architecture the volumes open up to an in-ner square and propose a place of encounter and visual communication. The element of the wall provides protection, limits and direction. This is reflected by guiding the existing part into the new. - Laura Schneider


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The project is sited in Bonaval Park, where Alvaro Siza’s design forms a relationship with the existing ruins in order to evoke an experience of procession as the outdoor space steps up the slope of the hill. While spending time at the site, I closely studied how the paths, terraced levels and ruins create progressively dynamic spaces within the fortified walls of the park. My parti focused on activating these moments while granting access to the artist complex for the public.The granite benches placed by Siza correspond to the existing ruin walls at the higher level of the park. These are human scaled moments for park users to pause and rest along their procession to the tree covered top of the hill. I proposed to use the building ruin as a gallery space by simply glazing the arched openings and building new adjacent artist spaces into the earth. The existing benches and wall ruins above would remain and become part of the building to form exterior walls. This encourages park users to physically engage with the building, while not disrupting their procession along the paths. The artist lofts were deliberately located as a separate building at the top of the hill, creating a clear separation between the private and public programmatic elements. The top of the hill is the final destination. It is quiet and nestled in the abundance of trees, creating a place for rest and reflection upon the end of the procession from the Center for Contemporary Art at the bottom of the park.- Holly Arnold


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Each new project should be the result of resolving old problems and bringing new advantages. Analyzing the Bonaval park, I understood the need to be architecturally-calm and totally rational in my future project. I found a beautiful old ruined house, standing by the old wall of the park and tried to give this house a second life by making a gallery in it. New parts of my project are supposed to create a background for this old building and look as transparent as possible, so the main facade has lots of glazing. I put the «beam» with studio spaces on the old building, which plays with it in terms of constructional horizontal spacings and works as an observation deck to the old city. The «beam» comes out of the densely wooded part of the park and can be used by the citizens. Opening the gallery to both sides of the stone wall and placing housing for artists in the existing ruined row of buildings (which are to be reconstructed) brings life to the forgotten part of the city, which is currently not used in the most rational way. - Vladimir Gusev


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My idea is to equip the unit of a common space for the artist, characterized not only by privacy, but also by permeability and accessibility to the public; to occupy as little space as possible; to locate the project at the top of Bonaval Park in the more reserved area that is also close to the path and to a secondary entrance. The complex consists of two linear two- story volumes, partially sunken into the ground, close to the boundary wall and parallel to the contour lines. The two buildings contain the common area with arcades.The one closer to the wall is made up of cells which measure 6x7m; with the studios on the ground floor and housing on the first floor, which can also be accessed by the opposite side near the wall. In the central part there are a kitchen and communal spaces.The second row of volumes, lower in the park, contain the common functions. At the second floor, that is connected to the common area, are the classrooms, the auditorium, and the library for the artists. At the ground floor, that is directly open to the park and to Santiago, there are the bar, the library, and an exhibition space for the public.- Filippo Puleo


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This project is a simple and compact building, at the top of the park. It uses the mysterious quality of its location to reveal its monolithic presence, as a strong element disapearing in the trees. It reacts with the urban context of the street to the north, to find its position inside the garden. The courtyard on the streetside leads to the private artists’ spaces. On the other side, the building intergrates an existing path that leads to the public entrance. The exhibition spaces are located on the top floor, which provides a viewpoint to the city of San-tiago de Compostela, above the trees.- Camille Milou


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The aim of the project, to create a collaborative environment for seven foreign artists to live and work, contradicts the programmatic requirements, which calls for separate apart-ments and studios. In an attempt to create a collaborative environment, the living and working areas are combined into shared spaces, simultaneously decreasing square footage as well as the project’s impact on the site. The site, Bonaval Park, is a remarkably rural departure from the urbanity that is Santiago de Compostela. As a result, the park has an inexpli-cable air of sacredness, such that any additions to the park would cause an immediate interference. However, past park additions have been made nearly invisible by their subtleness.Therefore the gallery/studio simply allies itself with the uppermost stone wall. Its façade is composed of three skewed stone walls, recreating the park’s previous condition of stone enclosure while echoing the skewed lines of Alvaro Siza’s museum at the park’s base. Finally, the housing portion of the project hovers over the stone wall façade, the foreign nature of which is representative of the artists that it houses. The intrusive nature of this architectural form is negated by its hovering, which keeps it from ever touching the park’s sacred ground.- Mike DeValle


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The wall system dominates the site. It plays the role of both separating and connecting the juxtaposed spaces. By building the Museum in the gap in-between the monumental mon-astery and the city of Santiago, architect Alvaro Siza did not only introduce a connection between them but also strengthened the power of the wall system and gave the city a green space to breathe. His action revived the place. However, outside the northern wall of the park, there is still an abandoned alley which remains dark, dirty and dangerous.The project: To give the alley a life. Use the strategy of the Museum design: introduce a connection, activate the edge of the site, strengthen the wall system, preserve the green space, and revive an abandoned place. A long sequence of narrow spaces will be inserted into the northern wall and continually connected to the ruin arcades, which will be convert-ed into a gallery. All flats float above the studios and have separate entrances from the alley. The studios connect to the gallery and the main entrance from the park. Then, they can serve as exhibition space when needed. The cut at the bottom of the wall’s corner provides people who climb up the park’s hill with a glance of the street and vice versa.- Toan D.B. Nguyen


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Santiago de Compostela is a well-known pilgrimage destination. Of the many routes that cross Europe, the most famous one is the so-called “French Way”. To enter Galicia following this route, a pilgrim must tackle a steep ascent of 1,300 meters to O Cebreiro, culminating with an almost limitless view of the landscape below, reaching all the way to the O Caurel and Os Ancares mountain ranges. From there one descends, crossing green valleys and the ancient places of Triacastela, Sar-ria and Portomarín. After such an idyllic journey, the final 12 kilometers of the route are disenchanting for many pilgrims due to the urban growth that has all but obscured the original path. After crossing the Lavacolla airport in Santiago de Compostela, pilgrims continue on the historic center, overwhelmed by the hotels, city government buildings, new residential construction, bars, and restaurants. Some of the most disorienting moments occur at the traffic intersections, where pilgrims must cross over or under existing highways. The environment outside the historic core of Santiago is out of tune with human scale and human experience and lacks the connection to nature, history, and local tradition which make the earlier part of the journey so memorable.

Like all projects at Compostela Institute, this workshop was developed together with the city government of Santiago and aims to improve the experience along the pilgrimage path, as it moves through the periphery. Many of the problems encountered are global issues: urban sprawl, the automobile, ruptured conditions between the center and periphery, disjunction between the natural and the man-made. Students begin their investigation by studying precedents, projects by Pikionis, Scarpa, Siza, Ravnikar. They continue to work as a group to first trace and re-trace the entire route (which involves walking it themselves) and then gradually focus on local investigations, or in some cases, modest interventions at selected points along the path. The following design goals serve as a guide for the workshop: the definition of an identity for the path as it moves from rural to urban conditions, the creation of meaningful connections to the city, the (re)engagement with the natural land-scape, and the sensitive detailing of the ground surface itself and landscape/building interventions at selected “nodes”, with an understanding of the local materials and building culture, craftsmanship, climate, attention to human scale and phenomenological qualities involved in the walking experience.


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W i t h O s c a r F u e r t e s , T a t i a n a B e r g e r , S a s h a , A l b e r t o F o y o



W i t h t h e m a y o r o f S a n t i a g o d e C o m p o s t e l a



W i t h W i l l i a m J R C u r t i s , F u l v i o I r a c e , L u c i a B u c e t a , C a r m e n F a b r e g a t , J a c k i e T u g m a n


Students 2010 : Students 2011: Students 2012: Alfredo Pimentel US Adryanne Quenneville US Alejandro Leal Mexico Ana Gonzalez Granja Spain Robert Burgess US Alzbeta Bruhova Czechoslovakia Anna Kulik Russia Camille Milou US Anh Tu Tran VietnamBruno Neto Portugal David Deitch US Benan Sahin TurkeyBryan Kistner Mexico/US Filippo Puleo Italy Donald Barany USColin Booth US Holly Arnold US Geng Xinxin ChinaChung Z. Zhao US Jackie Tugman US Hu Rong ChinaDanilo Marini US/Italy Jin Park US Jamie Edindjiklian USElizabeth Kay US Laura Schneider Germany Javier Solis Mexico Grant Scott US Levi Tofias US Jordan Fust USJennifer Caras France Michael DeValle US Rabab Kazem KuwaitKathryn Hovis US Sean Owen US Magda Jankowska Poland/USLauren Fallisi US Tayssir Takieddine Syria Ewelina Olechowska Poland/US Marek Kundrata Hungary Timoteo D’Alessandro Italy Pablo Lopez Prol SpainMario Somonte Spain Toan D.B.Nguyen Vietnam Scott Brown USMark Rego Portugal Trevor Hughes US Scott Woodward USMichael Deng Lin US Vladimir Gusev Russia Yuki He ChinaOlga Prokopenko Ukraine Zane Bell US Shih-Ning Chou Taiwan/US Ravie Bath US Steve Ramirez Columbia/UsReed Harmon US Tanya Zimmerli USRobin Willcox US Tate Sumner USKelly Shaw US Veronica Velasquez Columbia/USZachary Briggs US Xian Yu Yang China Yingxia Lai (deLyn) China/US Yishan Qin China


Guest Lecturers: Lecturers: Faculty and Administration: Alvaro Siza Fernando Agrasar Carlos SeoaneWilliam J.R.Curtis Felipe Criado Tatiana BergerJuhani Pallasmaa Elias Cueto Alberto FoyoDavid Chipperfield Jose Fernandez Salas Pablo GallegoFulvio Irace Inaki Leite Maria SieiraJacques Gubler Fernandez Lopez Alsina Oscar FuertesHua Li Maria Lopez Sandez Lucia Buceta Andrew Cohen Carlos Otero Jackie TugmanVito Acconci Jose Otero Pombo Carmen Fabregat Manuel Gallego Alfonso Perez-Mendez Tono Mejuta Carlos Quintans Edite RosaGuest Critics: Felix Salinas

Gerardo Conde Roa Sponsors:Angel CurrasXerardo Estevez Concelho de Santiago Martin Fdz.Prado Universidade de Santiago de Compostela William JR Curtis The Swiss Embassy in SpainJuhani Pallasmaa Fundacion Compostela ArquitecturaFulvio Irace Fundacion Paidea Jacques GublerEdite RosaJoaquim AlmeidaFernando AgrasarAntonio Maroño Oleg DrozdovSara Murado


F o u n d i n g F a c u l t y:

Carlos Seoane Mr.Seoane has a Bachelor’s degree in Architecture from the University of Santiago, 1987 and a Master’s degree from Columbia University, 1991. He has also com-pleted post-graduate studies at the Escola das Artes e Design, in Porto. Since 1996, he is Associate Professor of Construction at Coruña University School of Archi-tecture. In the United States, he worked with R. Viñoly Architects. In 1993, he moved to Porto to collaborate with A. Siza. He opened his own studio in 1997 and since then has also collaborated with D. Chipperfield and with Eisenman Architects. He has received the CGAC Award 2002, Association of Architects award for best rehabilitation project in 2001-2, and the Juana de Vega Award, 2010 for the best Galician House.

Tatiana Berger Ms.Berger has a B.A. in Architecture from UC Berkeley and a Master’s Degree in Architecture from Princeton University. She has practiced architecture for 15 years in the U.S., Russia, Austria, and Portugal. She worked as project manager for ILF Engineers on the Sochi 2014 Winter Olympics and for Baumschlager and Eberle on residential projects and international competitions. From 1997-2004 she collaborated with Portuguese architect Alvaro Siza on the design and construction of multiple projects in Iberia, including the reconstruction of the historic Chiado district in Lisbon and the new public library in Viana de Castelo. Since 2008, she is a professor at the Boston Architectural College, Roger Williams University, and the Wentworth Institute of Technology. Alberto Foyo Alberto Foyo Studied architecture in Madrid,Spain and the University of Oregon, USA. He collaborated with the Austrian architect Dr. Roland Rainer developing low rise-high density residential enclaves and later opened his practice in NYC. His projects include residential developments in Spain and Florida, a master plan for Kiev, an agroforestry & permaculture center in the Amazon basin and residences in the New York region. He is involved as professor, guest critic, and lecturer in Europe, China, and America. He teaches at the School of Architecture, City College and at Columbia University in New York.

Oscar Fuertes Oscar Fuertes studied architecture in Coruña, Spain and the Accademia della Architettura di Mendrisio, Switzerland. He has a master’s degree from Coruña Univer-sity. He is a member of the Spanish Commission for the exhibition Architetti Ticinesse nel Mondo. He collaborates with CSA and with the COAG - Galician Associa-tion of Architects- on the European project »Dorna”.

Pablo Gallego Picard Architect, photographer and filmmaker. Co-director of the art&architecture magazine O-monografías. Graduated from Madrid Architecture Polytechnics School. He has collaborated with Ábalos &Herreros, D.Chipperfield Architects, M. Gallego, Stan Allen and Tuñon and Mansilla. He has a Master of Science from the GSAPP, Columbia University NY, is recipient of the William Kinne Fellows Award in 2000 and the Europan 8 first prize at Coimbra, Portugal. His practice has work in London, New York and Galicia, Spain, and has been exhibited at the Venice Biennale, XXX Pontevedra Art Biennale, CGAC in S.Compostela and Arquerias Nuevos Ministerios, Madrid.

Maria Sieira Mrs.Sieira coordinates the Housing Studio and the Architecture History/Theory sequence in the graduate program at Pratt Institute’s School of Architecture. She teaches architecture design studios that focus on sustainable urban projects and seminars on film and on installation art. She is a registered architect in New York State and in 2007 founded Xoguete Architecture, a critical practice firm that provides architectural services and is engaged in design research. She worked on the Cidade da Cultura, in Santiago de Compostela, while at Eisenman Architects, NY.


C o n v e r s a t i o n s w i t h S t u d e n t s:

1. Alvaro Siza - Conversation with Students 6. Round-table Discussion with A.Foyo, J.Pallasmaa, C.Seoane (Auditorium at the School of Journalism) (San Martin Pinario Lecture Hall, Santiago de Compostela) 2. Alvaro Siza - Lunch with Students 7. Discussion with Hua Li (Town Market in Santiago de Compostela) (San Martin Pinario, Santiago de Compostela) 3. David Chipperfield - Conversation with Students 8. Juhani Pallasmaa in Conversation with Students (House in Corrubedo, Spain) (Plaza Quintana, Santiago de Compostela) 4. William JR Curtis - Conversation with Students 9. Presentation of Work by Faculty and Discussion (Fonseca Residence Hall, South Campus of the University) (Residence Hall) 5. Juhani Pallasmaa - Conversation with Students 10. T.Berger Conversations with Students in Porto (Cafe on Praca Fonseca, Santiago de Compostela) (Boa Nova Tea House and Serralves Museum)

S e l e c t e d L e c t u r e s a n d S e m i n a r s:

On Santiago de Compostela: On Sustainability, Construction and Tectonics: 1. Santiago and Its Urban Development - Luis Daida 1. New Systems of Construction - Carlos Quintans 2. Santiago - A Space Through Different Ideologies - F. Agrasar 2. Void and Construction - Carlos Quintans 3. Santiago: The Contemporary City - Fernando Agrasar 3. New Technologies in Construction: Three Lectures - Carlos Quintans4. Cloisters and Their Meaning - A.Goy Diz 4. Sustainable Architecture - Alberto Foyo5. Santiago: The History of the City - Lopez Alsina 5. The Tectonics of Design and Essays in Tectonic Studies - A.Perez-Mendez6. Santiago and Its Materiality - F.Salinas 6. Architecture and Its Materiality: Stone - Coira7. The City of Culture by Peter Eisenman - Maria Sieira 7. Stone Work - F.Salinas 8. An Artist’s Interventions in the City - Fernando Agrasar 8. Systems of Architectural Design - Inaki Leite

On Landscape: On Light, Environment, and Human Perception: 1. The St.James Pilgrimage Route - C.S.Carretero 1. Light in The Architecture of Le Corbusier - William JR Curtis 2. Galicia: Landscape and Archeology - C.Otero and F.Criado 2. Platforms, Terraces and Ramps in Ancient and Modern Architecture: 3. Memory, Identity and Landscape - Pablo Gallego Picard Fundamentals of Perception - William JR Curtis 4. Landscape and the New Modern - Tatiana Berger 3. Abstraction and Light: Photographs and Drawings - William JR Curtis 5. Landscape and Ideology - López Sandez 4. Atmospheres - Juhani Pallasmaa 5. Art and Architecture - Juhani PallasmaaOn Design and Drawing: 6. Platform and Horizon - William JR Curtis 1. The Museum at Ibere Camargo and Its Design Process - Alvaro Siza (followed by a conversation with students at the town market) On Architecture in Europe and Asia: 2. The Design of a Summer House in Corrubedo - David Chipperfield 1. Face City - Fulvio Irace 3. Sectional Thinking - Andrew Cohen 2. Modern Architecture in China - Hua Li 4. Instruments of Design - Drawings for the Church at Marco - Edite Rosa 3. Nationalism and Internationalism in Modern Swiss Arch. - J.Gubler


part 2 compostela institute student work 2010-2013

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