The porous limit

University of Piloto de Colombia

Project idea

The project through the intrinsic search for the concept of the porous limit from the fragmentation of the mass for the contemplation of the landscape. It highlights the importance of the recovery of the docks, as an important connection link with the natural and the artificial, in this way, the project is a connecting node to natural urban life.
The project is a gastronomic market that allows to give order to the chaos of the fishing trade in the area, and, in turn, breaks social limits, creating spaces to congregate, contemplate, recreate and rest on the banks of the Magdalena River landscape
The conceptual development was of great importance to understand and create an architectural relationship that would allow the creation of multiple atmospheres, all of which prevail towards the public, in order to stimulate the sensory senses and have experiences that last over time.

Project description

In this spatial search, it was evident that the spaces designed for people make the union of traditions, customs, collective memories, tastes, cultures, experiences and activities consecrate the holistic idea of ​​not losing social identity. In other words, architecture must be social, space will cease to be space, without the person.
In the first conclusion, the architectural reflection responds to understand that architecture is public, it is to serve people and it is for people. Public spaces invite the user to have more contact with architecture and understand its purpose. In this case, the project is the space for the encounter with culture, and the stimulation of knowledge occurs from having flexible and dynamic spaces towards human life.
With the creation of the concept, it was possible to demonstrate the multiple ways in which space is an endless number of momentary stories, that is, the limit created is a positive limit for both nature and architecture, since it does not restrict, but rather frames the space in which the person can be and in turn live it, creating the possibility of being part of it and leaving an experience that lasts in the life of each human being. The concept was the starting point to understand the possibilities of creating architecture, through a sensory response to contemplation spaces, where visual continuity between the interior of the building and the surrounding landscape was allowed.
In a second sample of introductory thought to the concepts worked on, it was concluded that by linking them, the elements of how architecture is made were identified, where the transformation is not the end of an idea, but the beginning of the exploration of form, the limit, the porous and the fragmentation, helps to rethink and think about a space designed for society, since these concepts are not simply linked to architecture, but are part of the daily life of each being, therefore it produces a collective union with the simple purpose of contemplating a landscape, in this case it is that of the Magdalena River, but it can be any landscape, the idea achieved was to contain to contemplate but at the same time raise awareness of the thought of union with nature.
In conclusion, the architecture allows interaction through porosity for a dynamic and flexible encounter in favor of freeing mental and social limits, fragmented in a surrounding landscape, where the project sought a way to connect users in a space. of balance that would allow collective growth, in order to renew a space such as the natural edge of certain cities on the banks of a water source, especially that of the city of Barrancabermeja, whose historical heritage is its Magdalena River, therefore the articulation of the three concepts worked to define the landscape created in architecture and finally the contemplation of it. Where the sensation of movement produced by the flow when staring at a river, there is the possibility of creating an architectural space or a landscape in movement, for the sensory stimulation of the people who inhabit the porous limit.

Technical information

For the structural approach of the project, the columns made by Toyo Ito in the Sendai Media Library were taken as a reference, which were analyzed and created from the space contemplated within the project, in this way the project allowed the materialization of the concept of the limit porous taking into account the technique with aesthetics, this in favor of creating an architectural landscape that responds to the flow of the river and that form and space are not determined. In this way, it was proposed to work on 3 basic elements:
1. Platforms: they are actually a grid of metal beams welded to two metal plates similar to those used in shipbuilding.
2. The tubes or columns: They are tubular steel structures that simulate an organic and twisted structure, which cross and support the platforms until they stand out on the roof, these columns are randomly distributed and vary in shape, diameter and inclination and dimension. At the same time they provide light to the interior.
The tubes also contain the fixed points of the project allowing vertical circulation within them, this makes the structure appear fragile, but they provide flexibility, resistance and horizontal and vertical stability to the building in an area close to a water source.
3. Skin: The skin of the building is an envelope in fragmented or segmented wood that allows the release of walls to make way for natural thermal control inside the building and achieving natural diffuse lighting.
And it allows the visual communication of the interior with the exterior and in different perspectives it achieves a movement similar to the flow of the river. The built project is 8,000mt2 which contains its 4 facades that are worked in different ways responding to its environment.
With the design process it was possible to give an unstable, porous, fragmented and fluid order for the contemplation of the natural and architectural landscape, this is reflected in the freedom of the users when going through the project, but above all a natural order for the discovery of the landscape and allow an absence of borders of the natural space that generate difference between the place, but at the same time opens towards it, creating a shadow in the city to contemplate the river.
In the first instance, the gaps or holes that make up the plate will be described, whose definition is a perforation in a surface that allows two spaces to be communicated by another, it is also a passage through the material, this type of holes is independent of the spaces that they communicate, since they have an entity by themselves.
In my project the concept of fragmentation is shown not only horizontally but also vertically where the floors can be considered perforated surfaces in such a way that the space of one floor communicates with that of the next and the vertical series of perforations and the arrangement of the supports invite us to think of a hole in matter. In this way, a variation of the classic scheme of columns and slabs can arise. The load-bearing system of the building can be divided into 3 families: Horizontal – Vertical – Seismic. The horizontal elements are 6 plates with a thickness of 40cm composed of an orthogonal grid of steel profiles welded between two metal sheets and topped by a light layer of ribbed lightweight concrete. Each plate has 11 circular holes where the vertical elements of the structure are accommodated.
The orthogonal grid is interrupted around the perforations to correctly fit the plates with the vertical components in terms of load distribution. The use of this type of plates allows the vertical elements of the bearing system to be located randomly on the ground plan, since there are no beams to which they must be connected.
The vertical elements are 11 tubular structures with a diameter of 3 to 10 meters, these structures are made up of steel tubes with a diameter between 20 and 50 mm. The largest columns are responsible for both vertical and seismic forces, these tubes lean in opposite directions forming a lattice structure. In the other columns that only carry vertical forces, the steel tubes only go in one direction, but they are embraced by several steel rings. These columns located randomly on the floor of the building change floor by floor, that is, they enlarge, shrink, and slowly change their location on the floor, creating different inclinations and shapes, in some they house the elevators and stairs. Finally, these columns reach the roof. It should be noted that two more columns are proposed to reinforce the spaces of the theater and the auditorium.

Documentation

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