diego sologuren

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    RI-TORN



    Location

    Risøy - Haugesund

    Country

    Norway

    Year

    2021

    Surface

    10 Ha

    Team

    Juan Roque Urrutia

    Intro
    RI-TORN, a defined, yet open, framework for growth.

    We propose Risoy’s revitalization as a model for urban development that merges sensibilities, rights, and interests through an adaptative strategy. The proposal is a time-based system constructed together: celebrating and integrating differences, taking care of the vulnerable, and offering space for the new. The project sketches an interdependency within a territory with two differentiated areas: a charismatic neighborhood and a busy shipyard shifting towards sustainable activities.
    Regenerating Risøy’s represents an exceptional opportunity for Haugesund. The settlement of initiatives within the island will be the materialization of civic agreements, ultimately becoming a destination as it consolidates the sense of place-making for its community.

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    Transducer



    Location

    Basel

    Country

    Switzerland

    Year

    2021

    Surface

    120 sqm

    Budget

    200k CHF

    Team

    Constructlab + Squadra

    Intro
    In the industrial production of building materials, economic efficiency and productivity dictate to what degree materials and human power are used, exploited, or neglected. This strictly economic logic produces vast amounts of waste and results in a loss of valuable knowledge and know-how. The cycle of continuous renewal is not only harmful to the environment, but it also deprives individuals of their power over the objects and materials they interact with on a daily basis.

    “[...] the technical object must be saved. It must be saved from its present miserable and unjust status. [...] It is, therefore, necessary to modify the conditions in which it is found, in which it is produced, and in which, above all, it is used, because it is used in a degrading way” (Gilbert Simondon, interview with Anita Kechickian, 1983). It goes without saying that we consider building materials to be technical objects of the highest order.

    We believe that the reuse and repurposing of construction materials will enable emancipation from the industrial cycle. Through associated forms of knowledge and craftsmanship, new sustainable social and pedagogical approaches can be explored as part of the building process.
    In order to be guided from one path to another, repositioned, and reworked; these materials seem to need a module specifically devoted to their transformation: a transducer. Throughout this process, they establish a special relationship with their carers and provide them with skills and knowledge in return.

    The pavilion is built over railway tracks. In the beginning, it primarily consists of storage spaces and a series of machines that help transform the in situ reused components into manufactured building elements. It generates the conditions for its own construction. Once structurally complete, the machines and tools remain for the transformation of other materials and the realization of events and workshops throughout the summer. Through its integration into a site formerly devoted to production and transportation, our project builds on this productive spirit and symbolically celebrates what has shaped its direct environment within a new system of values. To this tangible process are added all the advantages of social reactivation, ecological awareness, and a restoration of the human being into the site.

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    © Jon Egia

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    © Jon Egia

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    BroadWindow



    Location

    Bilbao

    Country

    Spain

    Year

    2021

    Materials

    Metal, wook, grid, plastic bottles

    Size

    5x0.5x0.5 m

    Team

    In collaboration with Sébastien Tripod

    Thanks

    Baulan, Jordi Gómez (ornithologist), Jon Ander Sologuren (botanist), Cristina Stadlbauer (researcher).

    Intro
    According to the philosopher and researcher Baptiste Morizot, the ecological crisis must be conceived in terms of a “crisis of sensitivity”. He invites us to rethink our relationship to the living world and its stimuli (Manière être vivant, Actes Sud, 2020). Although we inhabit a built environment we tend to underestimate and neglect the complexity of living species that inhabit them as well.

    Certain traditional typologies, architectural inexactitudes, or interstices of our aging constructions, have long offered an appropriate shelter for multiple organisms. The old walls host often rare flora and fauna which represent not only a historical and cultural but also an ecological heritage. Today, the processes of transformation and renewal of the urban fabric, driven by market interests, lead to the disappearance of shelters and the restraint of biodiversity. In most cases, cities are evolving without inquiries and keeping a prudential distance between humans and the rest of forms of life.
    Following this observation, “towards an Ecology of shelter” wishes to launch the research on how habitat and dwelling could be affected and how they could trigger possible transformations of constructive and architectural paradigms. We find it essential to propose experimental initiatives towards the climatic challenges of our times, which open new ways of re-empowerment of cities threading new alliances with all living beings with whom we share the world.

    A metal structure is implemented on the façade of a modernist building initiates a process of strategic actions, oriented by experts and researchers. The device expands one of the windows in the search of connecting the inside and the outside. The architectural element is conceived as a prototype which opens up new ways of how to envision the city of tomorrow in terms of tectonics and in its relationship with the environment.

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    Strato-Logique



    Location

    Lausanne

    Country

    Switzerland

    Year

    2021

    Budget

    5K CHF

    Materials

    Metal profiles,

    Size

    5x1x1 m

    Team

    In collaboration with Sébastien Tripod.

    Thanks

    Antonin Basser (landscape architect), Noémi Evéquoz (biologist), Bernard Genton (ornithologist) Nicolas Galeazzi (artist), Christina Stadlbauer (researcher).

    Intro
    Implemented on the rooftop of a multifunctional building, a metal structure deconstructs a skydome and creates a buffer element that hosts an experimental ecological process. Zucchini, pea vines, and wild hops coexist with bird nests for swifts, the mycelium of Oyster Mushrooms, and other invited species. The device seeks to thread the interdependence of the human and the non-human with the assumption that the result is indeterminate.

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    TAB



    Location

    Izola

    Country

    Slovenia

    Year

    2020

    Budget

    2k

    Materials

    wood, metal, cable, soil

    Size

    850 x 125 x 125 cm

    Team

    Brad Downey
    Rok Pahor

    Thanks

    Rok Pahor
    Tinatin Gurgenidze

    Intro
    Throughout 2020. the pandemic state made evident the general lack of quality of the architectural standards in highly populated areas. One of the forms in which this is manifested is in the fact that constructions have been turning their back to nature. In such context, nature is commonly regarded either as a luxurious accessory attribute or a common ground that not everybody would appreciate or look after.

    The proposal pretends to create awareness of the importance of daily and domestic contact with other forms of life through the installation of a mechanical device that can bring, vertically and temporarily, a tree, a vegetable garden, or a beehive to our window. Furthermore, the vertical construction might trigger a series of unexpected shared relationships since it can serve as a traveling communitarian space that can engage the neighbours.

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    TAL



    Location

    Lisboa

    Year

    2020

    Materials

    wood, plywood, iron

    Size

    35x3 m

    Team

    Tiago Pombal
    Manuel Henriques
    Isabel Antunes
    Sara Battesti
    Beatriz Gama
    Sonja Lakic
    Bruno Melo

    Thanks

    TAL
    Future Architecture Platform
    MAXXI
    MAO
    Estonian Museum of Architecture
    Gate 7

    Intro
    Design for the exhibition "Handle with care: tales of the invisible" at the headquarters at the Palace Sinel de Cordes, headquartes of Trienal de Arquitectura de Lisboa.

    Conceived as a single element that hosts an evolutive narrative, the scenography crosses the space intersecting with the existing architectural elements. Its configuration shows three differentiated parts which allow the content to be approached in three different ways according to its nature.

    A continuous element develops from a table, to a platform and a canopy offering a changing experience in the way the space and the works are perceived. In addition, a series of sculptural elements, which emerge as extensions of the main structure of the scenography, introduce complementary information to the main exhibition content and therefore add a counterpoint to the promenade.

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    Plug-in pulpit



    Location

    Desire Lines Residency - Oslo Triennale

    Country

    Norway

    Year

    2019

    Materials

    Wooden Joists, panels, paint, e-scooter

    Size

    84x85x270 cm

    Team

    collaboration with Brad Downey
    photos by Henrik Haven

    Thanks

    Desire Lines Residency - James Finucane, Hanne Ugelstad Pål and Bjørn Ola, Kari Veiteberg.

    Intro
    Conceived as an artifact designed to attach to a city E-scooter, the plug-in pulpit becomes an urban gig worker.
    The sculpture has the possibility to move, as well as to suggest an undetermined number of unexpected uses.

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    © Nicolas Delaroche

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    © Nicolas Delaroche

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    © Nicolas Delaroche

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    EDR



    Country

    Switzerland

    Year

    2018

    Surface

    150 m²

    Team

    Kuník de Morsier Architectes SIA

    Intro
    Located in the Vallée de Joux, between the lake and the forest, this wooden construction placed on a mineral base enables new relationships between the inhabitant and the wild. A large roof and a developed facade multiply the relations with the outside and transform the facade, usually considered as a limit, into a space as such, connecting the inside with the outside, and enabling it to be inhabited.

    The mineral soil, continuous, unfolds on the sloping ground and receives a series of low walls which are supported by the wooden frame. The interior is not designed as a ground and a floor, but rather as a succession of spaces located at different heights and accessible by a series of steps, stairs and ladders, and nets that run through each other. Each space is unique, as much by its topology (its position relative to the others) as by its relation with geography. Reflective surfaces in the window openings increase the play of light and reflections and echo the reflections on the surface of the lake.

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    the cross

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    deconstructed swiss cross

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    the plug

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    on the river

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    transportation procession

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    plans

    Watermill (steckdose)



    Location

    Kraut Festival - Luzern

    Country

    Switzerland

    Year

    2017

    Materials

    30x30 mm wood joists - 4mm wood pannels- glue - L35mm profiles - electrical installation - cable- plug

    Size

    3x3x1.5m

    Team

    collaboration with Brad Downey - technical (and emotional) assistance Reto Leuthold - Paul Lipp - Timo Müller

    Thanks

    Kraut Festival - Alice Busani - Esther Leupi

    Intro
    Set up on the river Reuss in Luzern, the mill reveindicates the power of water, a source of energy that has contributed to the development of the city since it’s foundation.
    A white cross with the form of a sauwastika rotates with the water, transforms the movement through an alternator into electricity and offers a power plug at the other side of the wall. The sculpture generates a minimal architectonic function, it creates, within an impersonal transit way, a punctual space for use, detention, comfort.

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    the ladder

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    the ladder

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    the ladder

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    transporting

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    the tunnel

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    the tunnel

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    the platform

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    the platform

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    the platform

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    transporting

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    the bar

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    on the fields

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    plans

    The tunnel, the platform, the ladder…



    Location

    UM-Festival 2016 - Fergitz - Uckermark

    Country

    Germany

    Year

    2016

    Materials

    aluminium, Dibond, revits

    Size

    300x300x150 cm

    Team

    collaboration with Brad Downey
    building assistance Nicholas Kashian

    Thanks

    UM-Festival 2016 - Marc Wellman, Ilona Kalnoky, Ferdinand von Hohenzollern, Fergitz.

    Intro
    This L-shaped infrastructure is made of three parts, the tunnel, the platform, and the ladder. The horizontal passage can either be at the top or the bottom of the construction depending on the placement of the object. The vertical ladder is united with the horizontal passage. The viewer can engage with the object through an ascension of the round bars.

    The tunnel, the platform, the ladder…functions as a standalone piece as exhibited in the water in a natural landscape, or as an attachment, complementary, to another building in an urban landscape. Unlike the tunnel, the ladder is open to whomever may be within reach, and invites an audience to transform into participants.

    The stoutly, yet sleek construction heightens the experience of ascension, burrowing, and connecting with an unusual immediacy, and evokes possibilities unnaturally found in a singular place within cities or in nature. How often can one face a tree to climb it, rest on a limb, and travel beneath it? The duality to The tunnel, the platform, the ladder…rests in its interactivity, which, when pursued, results in the participant wrestling the ideas of constraints and confinement in order to find a way out.

    [Rose Pacult]

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    WoW



    Location

    Berlin

    Year

    2017

    Surface

    10 sqm

    Team

    Constructlab
    Elisa Saturno
    Patrick Hubmann
    Alexander Römer

    Intro
    W.o.W is a workshop on wheels.
    It is a big toolbox, and a tiny workshop. Its structure, when unfolded through simple yet unexpected mechanisms, just like a toolbox, reveals a fully equipped working space. Inside, there is space for storage of tools, materials and objects; on the upper space, the structure can host people overnight.
    W.o.W is a moving project, built on a trailer: it doesn’t belong anywhere, it belongs everywhere. W.o.W is a temporary hub where sociality and mingling are encouraged through building, where learning low tech building techniques and material acknowledgment empower people to express their creativity. W.o.W engages reflections about material availability, up-cycling, pre-cycling and re-cycling.
    W.o.W is a tool to generate projects.

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    Dust



    Materials

    wood, acrylic paint, cable

    Thanks

    Sybille Neumeyer, Ties ten Bosch, Galen Gibson

    Intro
    The post-minimalist, stylised sculpture Dust is suspended, by cables, in air. The hanging flat wood board is carved in a corner, and it is opened in a twenty-point geometric shape that is, proportional to the surface, small. The tactile, multi-planed shape expands under the top, painted wood board, which lies perfectly flat, and is neither strained or stretched. In effect, the multi-planed sculpture finds tension in the work underneath, parallel to the physical surface on top. This extension beneath resembles an exaggerated, caricatured molecular makeup, and is, in effect, an unidentifiable but certain scientific form. Using negative and positive space to create this illusion, Dust shifts our gaze from the three-dimensional to volume in order to redirect the question from a closed surface to an expansive future—how is possibility produced in ,,significant’’ emptiness? Like a storage space beneath the piece, there is the magic of disappearance. Space is not constituted as simulative setting, but the consistent deploying practice of expressions, turning and reshuffling.

    Fog covers the street, and intermittently,
    Indecision floats white.
    The vacuum returns to concrete
    Unhurried, the haste, confused surprise
    And indiscretion of dusk.

    The perception of space is an illusion produced by the definition of its’ limits. Space can be light, energy, sound, life; but also nothingness, silence, air, dust.

    A hanging plateau is occupied by a vacuum: an implied space, an absent form; a piece of void, quietness; suspended dust in the air.

    [Rose Pacult]

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    VII



    Year

    2016

    Materials

    palm tree wood - epoxi - electric installation

    Size

    16x13x24 cm

    Team

    Brad Downey - Nicholas Kashian

    Intro

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    front view

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    reinforced structure for foundation

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    foundation ditch

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    1st stage: foundation basement

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    floor platform

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    2nd stage: temporary structure for assembling

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    3d stage: floor placement

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    4th stage: 20mm rebar welding

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    5th stage: top part assembling

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    unprogrammed alternative uses

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    plans

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    axonometries

    Watertower



    Location

    Koudougou

    Country

    Burkina Faso

    Year

    2016

    Budget

    10 m E

    Team

    Kéré Architecture
    Marta Migliorini

    Intro
    As part of the Infrastructure to supply the school of Schorge, this watertower has been conceived in connection with the local well and the orchard, within the didactic programme for the children. The process of design and construction has been, once again, in relationship with the local needs, techniques, resources and materials.

    The structure is composed of 16+16 20mm concrete rebars welded forming a hyperboloid which acquires a somewhat iconic presence. It bears a 3000 liter water tank on the platform situated 6 meters above the ground. The construction process, although planned very rapidly, was carried out succesfully, with very scarce means, but with an efficient coordination between the designers and the workers.

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    exterior façade

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    integrated in the landscape of Burkina Faso

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    innner courtyard

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    classroom

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    truss beams assembling

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    Exterior wood log façade

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    construction in progress

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    axonometry

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    constructive axonometry of a module

    Lycée Schorge



    Location

    Koudougou

    Country

    Burkina Faso

    Year

    2016

    Surface

    350 sqm

    Budget

    0,5 M E

    Position

    project manager - designer - construction site supervisor

    Team

    Kéré Architecture

    Thanks

    Dominique Mayer
    Yara Pavel
    Marta Migliorini

    Intro
    Financed by the German Stern Stewart Institute, Lycee Schorge is an attempt to bring quality education to the kids of one of the poorest countries of West Africa and the world: Burkina Faso. The participation of the architectural team is, therefore, not superficial. Design, construction and further adaptations have been carried out within a direct and participatory process in which every single agent was involved.

    Architecturally, the school is developed around a courtyard; one of the most noticeable elements of the West African architecture; which represents the space for encounter, for discussion, for celebration. The classrooms have been conceived according to very simple cross ventilation and shading principles, with no use of active engineering elements. The main element of the building is a large metallic roof which protects the laterite stone architecture from the strong African sun and enables the circulation of air beneath.

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    Reinventing a chair



    Location

    Koudougou

    Country

    Burkina Faso

    Year

    2016

    Materials

    steel rebars

    Size

    Variable

    Intro
    The components of a system can configure a new reality for perception. Its projection may reinvent its meaning and come up with a new dimension for rationality.

    The series explore the interaction of two structural elements of a steel chair in relationship with each other. Their shadow is the third element, which emphasizes the geometrical expression.

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    Meroe Royal Baths



    Location

    Meroe

    Country

    Sudan

    Year

    2015

    Surface

    615 m²

    Team

    Kéré Architecture
    Alice Busani
    Daniel Heurmann
    Yara Pavel

    Intro
    First excavated in 1912 under the University of Liverpool, the Meroe Royal Baths are now the focus of a joint research project between the German Archaeological Institute and the National Corporation for Antiques and Museums. Dating back to the first century AD, the complex is thought to have serviced two nearby palaces from the great African Kingdom of Kush in what is now modern-day Sudan. Located 200 kilometers northeast of Khartoum, the ancient city of Meroe sits on the eastern bank of the Nile and is still today marked by temples, palaces, and more than two hundred pyramids.
    The proposal consists of a protective shelter that keeps the architectural heritage of the site. A 60-centimeter thick wall of mud brick not only offers protection against eroding winds and outside forces, but it also aids
    in maintaining a stable interior climate. Vaulted brick ceilings and courtyards help to promote natural ventilation and humidity control inside, creating an optimal condition for the artifacts. A series of partially-suspended walkways offers visitors to experience the historic ruins. To minimize damage to the ruins, a combination of foundations and structural systems will work together to support all new construction. Furthermore, the shelter will maintain its structural stability while allowing for further research and excavation to continue.

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    Table uns-table



    Location

    Moscow

    Country

    Russia

    Year

    2015

    Materials

    wooden table, cherry, cigarette butt, measuring tape, level, hammer

    Intro
    A slight presence is meant to alter the stability of a system; derange its equilibrium and reconfigure the physical laws which describe it.
    It may seem a concrete gesture, or a consequence of an abstract process.
    But, if the system was already unstable?

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    axonometric view

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    Railway Object



    Location

    Moscow - Outline 2015

    Country

    Russia

    Year

    2015

    Materials

    wood, steel, mounting hardware, railroad wheels

    Size

    3x1,5x4 m

    Team

    collaboration with Brad Downey
    technical support Alexander Schelkin

    Intro
    An object can have two different meanings depending on the context where it belongs.
    In the platform, the object serves for connection. It is an architectural piece. It has a use.
    When it moves through the rails, the object becomes a sculpture, an absurd form which carries people nowhere.

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    urban concept

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    plans, elevations, sections

    Lamp Parasite



    Location

    Moscow

    Country

    Russia

    Year

    2015

    Materials

    steel, wood, paint, railroad wheels

    Size

    1,5x1x1

    Team

    collaboration with Brad Downey
    technical support Alexander Schelkin

    Intro
    A Soviet era cast iron street lamp is shaped by a parasitic white box. The box functions as a container of light.
    A long ladder comes all the way up to the light and enters the box through a formless hole, which allows the light and shadows to combine symbolically.
    A surreal image: architecture becomes light.

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    Rationalism with grass



    Location

    Moscow

    Country

    Russia

    Year

    2015

    Materials

    hay bales, cages

    Team

    collaboration with Brad Downey

    Thanks

    Outline Festival

    Intro
    The coexistence of two different geometrical natures results in the birth of a dynamic and animated relationship.
    The cages reaffirm the Cartesian; the search for pureness, abstraction, rationality.
    Hay softens, jokes, brings the pieces to the sensorial world and makes them human-scale.

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    hanging wooden canopy
    photo: Erik Jan Ouwerkerk

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    seating space
    photo: Erik Jan Ouwerkerk

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    seating finishing
    photo: Erik Jan Ouwerkerk

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    axonometric view

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    structural plan

    Africa Canopy



    Location

    Louisiana Museum - Humlebæk

    Country

    Denmark

    Year

    2015

    Team

    Kéré architecture

    Intro
    Common in African mythologies, the powerful symbol of the great tree is used as a bridge between two seemingly contrasting cultures. Just like the canopy of a great tree, the design provides the most basic form of shelter from the elements while remaining open and accessible. The wooden terrain below the canopy provides informal seating where visitors can gather, reflect, and encounter each other in an intimate setting. The articulated ceiling structure is dramatized by a programmed high-intensity daylighting system that mimics the arc and movement of the sun throughout the day. The installation highlights the powerful ability of architecture to embody cultural narratives, traditions, and aspirations.

    Taking cues from traditional architectural forms and practices from a traditional village in rural West Africa, this architectural installation aims to highlight the importance of shading and sheltering as a way of protection from over-exposure to the sun as well as an inherent space-making device for community gathering. The design makes use of two major elements : an over-hanging ceiling component and an open communal gathering space underneath. The entirety of the installation is made of locally sourced unbarked willow branches and logs.

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    outer wall

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    inside view

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    central core

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    outer corridor

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    outer corridor

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    outside view

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    exploded axonometry

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    level plans

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    constructive system

    Camper Pop-up Store



    Location

    Weil am Rhein

    Country

    Germany

    Year

    2015

    Team

    Kéré Architecture
    © Vitra

    Intro
    As an addition to the Making Africa exhibition at the Vitra Design Museum, the project aims to create a fully-functioning shop with an embedded atmosphere of virtual, sensory, and communal interfaces. Located inside the Buckminster Fuller geodesic dome on the Vitra Campus, the interior retail space is shaped by an interactive boundary.

    Conceived as an interactive wall system made of lightweight composite timber panels, the architecture supports all functions of the store including product display and showroom, stock storage, welcome desk, transaction counter, fitting area and customer lounge. The spacing and structure of the wall elements allow for a visual and acoustic permeability, promoting a sense of discovery, exploration and chance encounters between visitors.

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    concept

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    detail drawings

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    assembling axonometry

    Suit Suite



    Location

    Berlin

    Country

    Germany

    Year

    2015

    Materials

    wood, wheels, paint

    Size

    2x1,2x2,1 m

    Team

    collaboration with Brad Downey

    Thanks

    Ane Nicolás Rodriguez

    Intro
    Architectural Performance together with the artist Brad Downey.

    An architectural suit is designed to fit around Brad.
    The artist becomes the exhibition.
    The artist becomes the display. The display moves.
    The artist becomes a place to lean on while you look at art.
    The artists’ place is for you to put your empty champagne glass.

    The sharp, simple, white, abstract geometry generates inner and outer spaces that trigger or are a product of flux. Humorously, the suit has an initial parasitic condition upon the gallery space, while maintaining the original functional, interactive, touchable, and usable intention. The audience can lean on the artist and look at art, sit on the artist, or drink on the artist, while the artist remains anonymous (no one can see their face, just clothes).

    The artist uses his mind and body to change the behaviours of the visitors, and determines how he will be used like the predetermined regulations of the architecture in place. The built space, usually the matrix to behave on, turns into something also with this additive strategy. The suit’s enclosure allows the artist to be used.

    In effect, the artist has become a joke. He is unable to communicate with the audience, but the audience needs him in order to be there and to continue their evening. The artist is a ghost, shelled in an expensive wood suite. At the very end of the gallery performance, Diego lunged forward, breaking the piece, and surprising himself.

    At the end of the gallery performance, Sculptor Brad Downey, the anonymous artist within the suit, wrote me an email about the work Suit Suite “He seemed very happy at the end of the day, then very sad for breaking it. He looked shocked when it got fucked up.” Diego, by breaking the suit, allows for the artist to rejoin the event and interact without a facade imposing restrictions.

    [Rose Pacult]

  • fig. (1)

    [1]origin

    fig. (2)

    [2]limits

    fig. (3)

    [3]leaking

    fig. (4)

    [4]take off

    fig. (5)

    [5]flight

    fig. (6)

    [6]dropping

    fig. (7)

    Urban Patch



    Year

    2012

    Intro
    Concrete is defined there where it confronts totality [1]. It may be confused with the limits of the real [2], it may remain metaphysical [3], but it can definitely escape from itself [4] in search of its own meaning. [5]
    However, it could be condemned to isolation, shrinking and, at some point, vanishing. [6]

  • fig. (1)

    Birdview of Plan d'Aou

    fig. (2)

    urban diagrams

    fig. (3)

    conception diagram - the dream of the inhabitant made real

    fig. (4)

    scenario 1 - orthodoxe city

    fig. (5)

    scenario 2 - the green city

    fig. (6)

    scenario 3 - the interactive city
    (most desirable)

    fig. (7)

    catalogue of typologies

    fig. (8)

    the result of a mixed boulevard

    fig. (9)

    view of a boulevard

    Ruban d’Aou – EUROPAN 12



    Location

    Marseille

    Country

    France

    Year

    2013

    Surface

    13 hA

    Team

    vGH Company

    Intro
    Plan d’Aou neighborhood is part of the so-called Marseille-Nord territory. The setting is at present a strategic stake for the social landlords. Its placement and its geographical advantages gave way to independant real estate operations that have not really improved the urban and social relationships within the area. The harsh urban operations from the 1960s and the subsequent scars, after further interventions, have created a hermetic urban area. The settlements of housing units have been made along dead end streets; the isolating parking spaces surround and encircle the buildings. Each operation remains a succession of islands that float independently in this rocky plateau.

    In Marseille the public space is often the scenario for the improbable encounters. The idea of appropriation is one of the characteristics of the Mediterranean culture and this sociologic phenomenon is transcribed into numerous interstices of the city. The public space is at the mercy of their inhabitants who invade it without reserve, mainly in a chaotic way. More than anywhere else, the model of the modern neighborhood, offers, through its improvised urban planning and at the present inefficient, non-defined spaces which have become areas places for meeting, for trading and for expression. It is precisely, within this Mediterranean context where this kind of social practice can become a coordinating tool, inasmuch as it is internally managed by local communities. Marseille is in France the capital of the «do it yourself».

    The proposal is affirmed as an urban alternative for a settlement problem. It is based on the search for the hierarchy and the sense within the un-ruled spaces, public wasteland, wild car park sites, abandoned green areas. The project intends to give these spaces a communal and participative value. Therefore, it is the inhabitants that become the principal actors of their environment. The population identifies itself with the neighborhood, with the belief that a feeling of belonging to a heterogeneous totality will arise with time.

    The « boulevards » that are created are thought for the total community of Plan d’Aou and could eventually also be extended to the surrounding areas. Different plots are proposed, which could be shared between individuals or groups, with the intention of offering spaces for common activities which could be developed according to their collective needs. This association of programmes will permit the inhabitants share their values and hence re-shape these places in order to serve for a bigger community.

▾ All Works
    01 All Works
  • 01.a) artworksartworks
  • 01.b) competitionscompetitions
  • 01.c) housinghousing
  • 01.d) installationsinstallations
  • 01.e) locally committed architecturelocally-committed-architecture
  • 01.f) retail architectureretail-architecture
  • 01.g) strategic planningstrategic-planning
  • 01.h) unexpected architecturesunexpectedarchitectures

  1. — RI-TORN

  2. — Transducer

  3. — BroadWindow

  4. — Strato-Logique

  5. — TAB

  6. — TAL

  7. — Plug-in pulpit

  8. — EDR

  9. — Watermill (steckdose)

  10. — The tunnel, the platform, the ladder…

  11. — WoW

  12. — Dust

  13. — VII

  14. — Watertower

  15. — Lycée Schorge

  16. — Reinventing a chair

  17. — Meroe Royal Baths

  18. — Table uns-table

  19. — Railway Object

  20. — Lamp Parasite

  21. — Rationalism with grass

  22. — Africa Canopy

  23. — Camper Pop-up Store

  24. — Suit Suite

  25. — Urban Patch

  26. — Ruban d’Aou – EUROPAN 12





Intro

Diego Sologuren (Bilbao, 1985) studied architecture at the ETS of architecture in San Sebastián and later in KU Leuven Sint-Lucas Brussels, where he was involved in a Master’s Program in urban studies.

Since his graduation in 2010, he has developed his career internationally. In 2014 he joined the office of the African architect Francis Kéré and had the opportunity to come in touch with a reality which influenced his way of conceiving architecture and design: honesty, economy of means, and formal simplicity. In 2017, he took part in the exhibition of the first Basque Country International Architecture Biennial as one of the finalists for the young architect award Ganchegui. In 2020 he was selected fellow of the Future Architecture Platform and had the opportunity to work for international institutions such as Trienal de Arquitectura de Lisboa or Tbilisi Architecture Biennial.

Based in Switzerland, he develops his own experimental praxis, which is committed to taking architecture to its conceptual boundaries with other disciplines through an unceasing process of subverting the conventional.

-The broad spectra of Diego Sologuren’s activity extends to a field made of music composition, performance, poetry, sculpture, architecture, emotions, and maths. A trained architect, his projects and missions disrupt the topographical and temporal limitations set by societal constructions. Using rooms, objects, and even buildings, Diego Sologuren’s work carries a transformative symbolism of both the powerful and the powerless with equilibrated instabilities. An executioner of different genres, he crafts new backdrops that request poetic interaction from the natural and unique locations in the city, from the visitors, and the practitioners.-

[Rose Pacult]




Education
2007 ⟶ 2008

SINT LUCAS ARCHITECTUUR HOGESCHOOL VOOR WETENSCHAP EN KUNST [BRUSSELS]

2003 ⟶ 2010

ETSASS-UPV UNIVERSITY OF THE BASQUE COUNTRY [SAN SEBASTIAN]




Work
2019⟶ 2020

RDR ARCHITECTES [LAUSANNE]

2017⟶ 2018

KUNIK DE MORSIER ARCHITECTES [LAUSANNE]

2017

CONSTRUCTLAB [BERLIN]

2014 ⟶ 2016

2016 KÉRÉ ARCHITECTURE [BERLIN-BURKINA FASO]

2013

THE vGH COMPANY [MARSEILLE]

2010 ⟶ 2013

MARCIANO ARCHITECTURE [MARSEILLE]

2012

UNIVERSITY OF THE BASQUE COUNTRY [MARSEILLE-SAN SEBASTIAN]

2007 ⟶ 2010

VIAR ESTUDIO [BILBAO]




events
2022

ETSASS, UPV - [San Sebastián, ES] lecture

2022

San Jose State University - [San Jose, California, US] Final project Review

2022

Facultad de Bellas Artes - [Leioa, ES] Workshops

2022

Argiartean, Donostia Kultura - [San Sebastián, ES] Architecture installation

2022

Bizimoduak, IEA EAI - [San Sebastián, ES] Exhibition set design

2022

Behatokia, AZ Alhóndiga - [Bilbao, ES] Roundtable

2022

Europan Norway - [Bergen, NO] Lecture at the award ceremony

2021

Prototipoak, AZ Alhóndiga - [Bilbao, ES] Architecture installation

2021

Bivouac, Labor, La Rasude [Lausanne, CH] Architecture installation

2020

Tbilisi Architecture Biennial - [Tblisi, GE] Architecture installation

2020

Trienal de Arquitectura de Lisboa - [Lisboa, PT] Exhibition set design

2020

Tirana Architecture Week, Polis University [Tirana, AL] University workshops

2020

Future Architecture Platform - 2020 Creative Exchange - [Ljubljana, SI] - Lecture

2020

Verne Arquitectos corporate presentation - AZ Alhóndiga [Bilbao, ES] - Lecture

2019

DESIRE LINES - Oslo Architecture Triennale - [Oslo, NO] - Art Residency

2018

PROBING THE LIMITS - COAVN - [Bilbao, ES] - Lecture

2017

BASQUE COUNTRY INTERNATIONAL ARCHITECTURE BIENNIAL - Ganchegui Saria - [San Sebastián, ES] - work exhibition

2017

KRAUT FESTIVAL 2017 - [Luzern, CH] - Architecture installation

2017

EN PARALLELE - MOPA 29 - [Lausanne, CH] - Video Art concept show with Giulia Crescenzi

2017

HAPPILAND - a country not far from Utopia – SCOTTY PROJEKTRAUM - [Berlin, DE] - Art Installation - Group show

2016

FESTIVAL UCKERMARK 2016 - [Gut Fergitz, DE] - Architecture+art installation

2016

DUST - SCHILLERPALAIS - [Berlin, DE] - Art Installation - Group show

2015

FESTIVAL OUTLINE 2015 - [Moscow, RU] - Architecture+art installation

2015

KONKRETE UTOPIEN - REALISMUS CLUB - [Berlin, DE] - Architecture+art performance

2014

SOUTHAMERICA – Colours of a path - LAMIAK - [Bilbao, ES] - Photography solo show

2008

FIBERCITY 2050 - SINT LUCAS ARCHITECTUUR HOGESCHOOL [BRUSSELS]

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