TRANSPARENCY: The Epidaurus theatre might be the best example of adaptation to the geography of a project’s location. The first project consists of a scenography that tries to emphasise the relation between the three mounts present in front of the theatre, as well as the dialogue between the placement and the play represented, Sofocles’ Electra. The
scenography is placed on top of the site upon which the original one stood. This constitutes a problem, because it would interrupt the immediate visual relation between the elements. This issue is solved by the selection of the material, a metallic mesh, which, when overlapping, creates a mist effect that also shows the play´s different stages and situations. The superior contour of the three different sheets of mesh is defined by the shape of the three mounts beyond the theatre. The result of the intervention is an almost nonexistent element, that, by being almost invisible, enhances the beauty of the theatre´s placement, and creates a strong nexus between the place and the play.
- LAY: The second project consists of a proposal of a palace in the Mycenae Acropolis, to accommodate King Agamemnon. This project has a twist though, because it must be done following Mies Van der Rohe's architecture fundamentals. The general shape of the palaceembeds it into the enclosure, as it is a simplified abstraction of the original walls' shape. The palace lays upon the ruins of the ancient palace, located on top of the hill, and around which rests the whole Acropolis. As the ancient mycenaean palaces grew around a main court, the project poses this same idea, and surrounds it with all the palace´s facilities. Given that the palace is located upon a hill, the presence of uneven ground is obvious, and the project stands on top of the different levels on top of which the original palace rested. These levels are conferred a different nature, shared by all the lounges resting on those levels.
-MINIMAL: The definition of temple may be one of the most subjective ones, but all of those interpretations have in common the fact that a temple intends to trigger the soul, and tries to create a spiritual experience. The third exercise poses the challenge to project a temple dedicated to Zeus in Athens´ Acropolis. This may as well be the most sacred location on Earth, so trying to modify it would be nothing but a show of a disturbing lack of respect and sensibility towards the place. Another aspect to bear in mind is the distribution of the temples in the Acropolis, as well as the condition of the terrain. The combination of both leaves a huge space on the eastern part of the mount, where the project will be placed. Considering all these conditions, the idea of creating a minimal yet powerful temple appeared, so just with the slightest gesture generate a profound thrill. The project consists of a horizontal marble sheet, at the same level as the Parthenon´s floor, resting upon the unevenness of the ground and the wall, therefore producing a low yet transitable space below it in which the light doesn't penetrate easily. A rectangular aperture introduces the light and the altar, located below the hola, serves as a spotlight, illuminating the surroundings of itself. Light also seeps through the slits between the wall and the cover. This contrast between the absolute opposition of light and shadow creates a phenomenon that is the temple in itself, a thrilling experience. This project presents a typology of a temple not present in the Acropolis, a location that offers all the requirements this temple needs.