Status: Proposal

  • Solar Hexaprism

    Solar Hexaprism

    The interior of the prism is structured around a longitudinal circulation spine, flooded with natural light, perforated and permeable, rising up to the roof and operating as a singular spatial continuum. It becomes a large shared interior room—an unavoidable passage where encounters naturally occur. This space connects all residents with one another and with the roof above, which in turn functions as a collective infrastructure: a provider of energy, physical activity, leisure, food production, workspaces, and care.

    The roof—the fifth façade of the Hexaprisma—is conceived as a microcity that complements and extends the domestic realm. It integrates photovoltaic fields, vegetated surfaces, individual urban gardens, solariums, a continuous jogging track, gym facilities, coworking areas, laundries, rentable kitchens (both open and enclosed), dining spaces, and a wide range of environments for interaction. These programs form a topological ecosystem of shared functions. Each activity adopts a specific geometry—coworking spaces as rectangles, laundries as capsules, kitchens as half-moons, gardens as cubes—so that architecture itself becomes a catalyst for social exchange, allowing people to inhabit the roof through the pretexts of encounter.

    Valladolid, an historic city set within the Castilian plateau and the capital of Castilla y León, is characterized by an extreme continental climate, with annual temperature variations reaching up to 50°C. The site reflects this condition: a north-facing slope with undulating topography and a 27-meter difference between its highest and lowest points, located in Parquesol, to the west of the city, near significant urban facilities.

    The building takes the form of a six-sided prism that hovers above the terrain. Anchored on its eastern edge, it gradually lifts as the land descends, minimizing earthworks and avoiding retaining structures. This strategy preserves the existing landscape—its tree clusters and pedestrian paths—while allowing the ground to flow beneath the building. The resulting shaded undercroft becomes an extension of the public realm: a continuous, undulating space for play, movement, cycling, and shelter, activating communal life and reinforcing the continuity of the natural environment.

    In section, the Hexaprisma operates as a solar machine, its performance enhanced by the sixth façade. The building breathes vertically through its central spine, enabling controlled natural stack ventilation. All dwellings benefit from north–south cross-ventilation—the most efficient passive cooling strategy throughout the year. The building harnesses solar energy to generate electricity, sustain rooftop agriculture, and maintain vegetated surfaces that improve thermal performance. During summer, pressure differentials across the prism’s faces induce continuous airflow around its envelope, cooling it naturally, efficiently, and without emissions.

    Each dwelling functions as a micro-scale solar device within the larger system. A terrace-box captures and distributes light and air, while adjustable louvers on the opposite façade regulate cross-ventilation across the three primary spaces of the unit. The 215 bathrooms are conceived as compact, standardized elements suitable for prefabrication, ensuring construction quality and efficiency. The internal layout allows for both fluid connectivity and complete independence: sliding partitions and dual circulation systems enable the two bedrooms to operate either as part of a shared dwelling or as autonomous micro-apartments, each with its own bathroom, dressing area, and terrace access. The central band of the dwelling—terrace, living areas, kitchen, and entrance—becomes the social core.

    Ultimately, the same dynamic unfolds at every scale: within the dwelling, across the building, and in its relationship with the city. It is the productive tension between individuality and community, between personal identity and collective life. The built environment should reflect and celebrate this richness—grounded in choice, respect, and the shared experience of living together.

  • Multi-Use Garden

    Multi-Use Garden

    The project is defined by a linear system that mediates between landscape, program and movement. Rather than occupying the site as a compact object, it unfolds along it, establishing a continuous relation with the topography and existing conditions.

    A simple structural order organizes the intervention, allowing different uses to coexist within a unified framework. This system ensures clarity in both construction and use, while maintaining the capacity to adapt over time.

    Circulation is understood as a primary architectural element. Access, movement and occupation are integrated into a continuous sequence of spaces, where interior and exterior conditions are deliberately blurred.

    The project avoids singular gestures, relying instead on repetition, proportion and controlled variation. Through this approach, it achieves a precise balance between presence and integration, operating simultaneously as infrastructure, landscape and built form.

  • Reina Sofía Museum Public Areas

    Reina Sofía Museum Public Areas

    The Sabatini building of the Museo Nacional Centro de Arte Reina Sofía is the result of successive historical transformations. Conceived by José de Hermosilla as Madrid’s General Hospital and later adapted by Antonio Fernández Alba into the Museum’s first headquarters, it gradually acquired an orientation that no longer corresponds to the contemporary city. Its main public entrance turns away from the Paseo del Prado, limiting the relationship between the institution and one of Madrid’s principal cultural and urban axes.

    The project originates from a simple intention: to open the Museum without adding architecture. Rather than extending the building through new volumes or attached elements, the proposal works entirely with its existing spatial and constructive capacities. The intervention reveals possibilities already embedded within the historical structure, allowing the building to be transformed through reconfiguration rather than expansion.

    Antonio Joli, Vista de la calle de Atocha, ca. 1750.

    This approach responds to the ongoing transformation of the surrounding city. The future redevelopment of the Paseo del Prado, the renovation of Atocha Station and the progressive pedestrianization of the neighbourhood will substantially modify patterns of movement and public life. The Museum is understood not as an isolated institution but as part of this evolving urban landscape.

    Instead of reinforcing a single representative entrance, the project establishes a distributed system of access along the Prado façade. Existing openings are recovered and activated, replacing the hierarchy of one monumental doorway with a sequence of permeable connections between the city and the Museum. The intervention reflects both the rational organization of Hermosilla’s architecture and the plural condition of contemporary society, where access is understood as multiple rather than singular.

    The Museum becomes more permeable, allowing visitors to enter, circulate and inhabit its public spaces with greater freedom. Exhibition areas, services, retail spaces, cafés and outdoor environments are reorganized into a continuous spatial sequence in which movement is no longer prescribed by a single route but shaped by individual choice. Transparency becomes both a spatial and an institutional condition.

    The reconfiguration of the historic courtyard plays a central role in this transformation. Together with the extension of the external elevator cores to the first floor, it reconnects a level that currently remains detached from the Museum’s main circulation system. This new continuity allows visitors to understand the building as a whole, establishing direct visual and physical relationships between the galleries, the garden and the vertical circulation.

    Nature, light and movement become integral components of the architectural experience. The courtyard is no longer perceived as an enclosed void but as part of a continuous sequence linking the Paseo del Prado with the vaulted wings of the historic building. Interior and exterior are brought into closer dialogue through the recovery of existing spatial relationships rather than through formal intervention.

    The proposal ultimately restores an urban relationship that had remained incomplete for decades. Without altering the identity of the historic architecture, the project reorients the Museum towards the Prado, integrating it physically and conceptually into Madrid’s cultural landscape. Architecture operates here through continuity rather than addition, demonstrating that the transformation of a building can emerge from revealing the latent possibilities already contained within it.

  • Business District La Vega

    Business District La Vega

    La Vega de Lamiako is, in its township, the only real place of contact with the estuary. It has remained largely unused throughout the city’s history, and has remained so even in the latter metropolitan transformation, that has accompanied the transition from an industrial society into a services organization.

    This disclaimer of the city’s visual and functional integration into the river course has, on the plus side, preserved the area as the only natural river edge of sludge, and on the opposite side, led to the marginalization of a major urban area, and has therefore made difficult the relationship between the city and the estuary, which is, in terms of geography and significance, the main street of the territorial agglomeration.

    The project previews the rehabilitation of the estuary’s natural ecosystem, an important marsh for the migratory birds. In a visual continuity with the river park and the area of mud, an urban park covers the entire services and residential area. The park has dense tree areas along the Gobela river and more wide open areas close to the river park, near the estuary. The urban park will allow for people to walk, rest and play in a free environment.

    Five slender towers, with a metallic texture, are lightly supported above La Vega’s urban park. Three wooden docks, surrounded by vegetation, support three groups of smaller services buildings, with similar façades, located on the right bank of the Gobela river.

    The project has two main features: the landscaped one, towards the Nervión estuary, and the urban, absolutely geared towards the city. The area becomes a ecological structural reference to the whole metropolitan area.