Luis Aldrete l estudio de arquitectura

Luis Aldrete estudio de arquitectura l

A R C H I T E C T U R E S T U D I O

G U A D A L A J A R A · J A L I S C O · M E X I C O · 2 0 0 8 · B U I L T

LUIS ALDRETE Studied architecture at ITESO (Guadalajara, Mexico) & UIA (Mexico City). From 1996 to 1999 studied a doctorate degree at ETSAB (Barcelona, Spain). Worked in Barcelona and Mallorca. From 2000 to 2011 he was a Theory & Project’s professor at ITESO & ITESM.

Establishes Luis Aldrete arquitectos in 2007, where he creates a space to analyze the city & its urban events, where the contemporary translation of anonymous architecture is discussed relating it to different cultural fields. A place to experiment with the insertion of craftwork with contemporary architecture.

The studio’s work goes from art installations to urban projects.

P I L G R I M R O U T E I S H E L T E R S

E S T A N Z U E L A · J A L I S C O · M E X I C O · 2 0 0 8 - 2 0 1 0 · B U I L T

Around 2 million pilgrims each year walk the Pilgrim Route located in Jalisco, Mexico, through existing mountains between the towns of Ameca and Talpa to see the Virgin of the Rosary as an act of devotion, faith and purification.

Due to the influx of visitors and as an effort to improve the experience for walkers the Jalisco State Government and the State Tourism Agency, financed the construction of infrastruc-ture to give shelter and basic services to pilgrims, under this assignment shelters located in Estanzuela and Atenguillo were developed.

Among the premises for architectural design were the follow-ing: understanding and integration context, functionality, null maintenance, be modular and the use of local labor.

Because of the great amount of pilgrims, developing a program that would adapt to the needs of the visitors was no easy task, so based on the fundamental idea of providing shade and water to travelers, we decided to design buildings that have the ability to operate flexibly, providing them only basic services like showers, toilets, sinks, and mostly a large open space that could well be used for sleeping, resting or multipurpose room.

P I L G R I M R O U T E I S H E L T E R S

A T E N G U I L L O · J A L I S C O · M E X I C O · 2 0 0 8 - 2 0 1 0 · B U I L T

The architectural strategy consists of a series of base modules which can be multiplied in order to give form to the project, and which make the project capable of adaptation and growth. The atmosphere makes sense when two kind of pieces made of “adobe clay” color -which is one of the predominant colors of the region- configure space. One of them is an essential piece to perform a lattice perimeter on the buildings admitting light and generating shadows as an abstraction of the covers made with oak leaves in most of the sorrounding stoping ponits, which have great space quality and sensibility.

After a thorough analysis and understanding of the context, the inhabitants’ manners and customs, religious symbols, colors, textures, materials, and how all these elements are used in a vernacular way, the clues that would direct the project were revealed. A clear design strategy in which the contemporary aesthetics and the appropiation of local materials would allow the different visitors to identify themselves with the shelters, taking them back to experiences locked in their memory.

L A R V A I C U L T U R A L C E N T E R

G U A D A L A J A R A · J A L I S C O · M E X I C O · 2 0 0 9 - 2 0 1 0 · B U I L T · C O L L A B O R A T I O N S 2 A R Q U I T E C T O S

LARVA is a cultural space in Guadalajara’s Historic City Center located in a movie theater from the fifties that had being abandoned for over a decade. The building is upon one of the principal avenues of the city, Avenida Juárez.

L A R V A I C U L T U R A L C E N T E R

G U A D A L A J A R A · J A L I S C O · M E X I C O · 2 0 0 9 - 2 0 1 0 · B U I L T · C O L L A B O R A T I O N S 2 A R Q U I T E C T O S

The budget for the intervention was minimum and had to be completed in four months. The project was proposed under the next premises:

1- Recognition of the existing building creating a dialogue with the past and the conservation of the original structure because not the entire building was going to be remodeled.

2- In orden to convey an evident state of abandonment, some sections remained intact, reflecting the building’s personality.

3- For resources and time optimization, the existing wall finish-ings would be left as found without even painting. This would conserve the personality of the building and would let the new intervention integrate with the rest of the building.

4- The resources would be used in very specific places and with the best posible quality. The materials would speak of the intervention, wooden floors would add warmth to the project, steel would collaborate by organising the general intervention. Few elements but easy to identify.

The brief included a cafeteria, an exhibition gallery, a video room, and a library.

E P R H O U S E

G U A D A L A J A R A · J A L I S C O · M E X I C O · 2 0 0 9 - 2 0 1 1 · B U I L T

The project responds to the land’s morphology and topogra-phy. In order to take advantage of the land’s length, to expand the garden area and constructed square meters, we placed the house over its own footprint. The excercise was to work with the superposition of two volumes.

The first volume is a steel base that gives the impression of solidity and rootedness to the earth, at the same time it opens up to the terrace and garden.

The second volume is a box which has a mineral pigment to get a terracota like tone. Gaps are left in the box forming patios that seem to make incisions in the volume; creating views but keeping privacy inside.

S C I I R E S I D E N C E

P U E R T O V A L L A R T A · J A L I S C O · M E X I C O · 2 0 1 0 - 2 0 1 2 · B U I L T

The proposal is the result of a process that is based on three variables which together articulate and give the narrative to ideas.

The first one responds to the way of adapting the volume on the land. This is consistent with it’s morphology; achieving the best orientations, privacy and views as possible.

The second one involves regulations that order the use of inclined rooftops with clay tiles, inspiring us to analyze the context from afar. This is where we find analogies between mountain lines and our rooftops.

H E R M È S I T E M P O R A R Y P A V I L I O N

G U A D A L A J A R A · J A L I S C O · M E X I C O · 2 0 1 1 · B U I L T

The installation was inspired by the tight relationship that Hermès has had with horses since its origins. The main objective is to show the design process of a special edition of their iconic silk scarves. On this occasion, a group of native Otomies were asked to design for the french firm. The scarf was called “Din Tini Ya Zue”, which in Otomi dialect means “the man’s encounter with the biodiversity that surrounds him during harvest and the celebration of corn’s abundance”. As you walk through the interior of the installation, you find the colors in the same order in which they were printed on the scarf, concluding with the final design, found in the ceiling with the sample of the decomposé.

The project was curated by Patrick Charpenel

E C O P A V I L I O N

M E X I C O C I T Y · M E X I C O · 2 0 1 2 · B U I L T

The competition consists to desing a pavilion in “El Eco” Muse-um’s patio in Mexico City designed by Mathias Goeritz.

The approach responds to a very basic reaction working the vertical plan and the horizon with the yellow wall, which is the element with most tension within the enclosure and at the same time, gives sense to the patio. Therefore the project takes out this wall from the space by inserting another wall diagonally creating the reflection of the street facade. With this action two patios are configured, in the smaller one the yellow wall is contained, and as a second act, the interior faces are covered with mirrors to create a reflection of the space and the yellow wall creating a false circular patio.

L I G A 1 0 E X H I B I T I O N I M O C K - U P O F A C O M M O N P L A C E

M E X I C O C I T Y · M E X I C O · 2 0 1 3 · B U I L T

As in all of Luis Aldrete’s projects, his intervention at LIGA starts from a deep interest in tangible objects, materials and experiences. The patio of his office in Guadalajara shows us the anonymous sources and references that are key elements that define a personal language, and the inclusion of physical memory is crucial in the materialization of his work. At the gallery he uses plain formwork, earth, vegetation and mirrors, to submerge a small garden into the mass of earth: an architecture that is anchored deeply in an undeniable telluric condition, intimately related to a material universe.

The access to this hidden oasis generates expectations, dis-placements and tensions that immerse us in a contemplative micro-universe. There, the infinite repetition produced by the mirrors creates an illusory space that reveals the spatial possi-bilities and sensibilities implicit in the daily world around us.

Text from LIGA 10 exhibition.

R M R E S I D E N C I A L C O M P L E X

G U A D A L A J A R A · J A L I S C O · M E X I C O · 2 0 1 2 - 2 0 1 5 · U N D E R C O N S T R U C T I O N

The approach done for this project starts with the pragmatic analysis between the site’s morphology, topography, and it’s unique beauty against the required density and different variables found in the program we used as tools for the commercial proposal.



Atmosphere and Image

The atmosphere is conserved at all times; the color green prevails, light filtration through trees, ponds, stone, and views as the guiding axis across the project.

The buildings are made with pigmented concrete in terracota tone in order to balance the green chromatic. Local blacksmith is used as an esthetic tool.

The paths throughout the complex communicate the buildings and public spaces with trails that generate an equilibrium between landscape and construction.



Location and Views

The strategy consists in making svelte buildings in their ground floor densifying only 20% of the land. The geometry allows 87% of te apartments to have views and 100% of them have crossways ventilation.



Apartments

Structure works as sunshade protecting each unit from the orientations, allowing bigger views. It’s rithm grants opening in the front visuals, while the diagonal or perspective closes up providing privacy and intimasy to the residents.

There are only two types of windows in the buildings, one measuring 1.00m by 3.00m and 2.40m by 3.00m

B F R E S I D E N C E


This proposal is determined by a box that opens completely to a garden and another one that is mostly closed and only allows certain views.

B F R E S I D E N C E


This boxes relate to each other by walkways that are complete-ly oposite, one opens completely to a side of the site, and the other one is broken into various volumes creating interstices of different heights generating spaces that are understood by their intimacy.

This opposites are developed in a program destined to relate spaces remembering old mexican haciendas.

L C I O F F I C E B U I L D I N G

G U A D A L A J A R A · J A L I S C O · M E X I C O · 2 0 1 3 · U N B U I L T

Planta Business CenterPlanta Tipo 125m²

Planta Tipo 500m²Planta Baja

Planta Sotano IPlanta Sotano II

NP L A N T A S T I P O 1 : 3 5 0

Ground Floor Standard Floor 500m2

Business Center PlanStandard Floor 125m2

The project’s approach begins with a pragmatic analysis between the land’s conditions, morphology, and topography, with the required density and different variables found in the program we used as tools for the commercial proposal. At all times, the concept intended to create a pleasant atmosphere; the plaza, a roofgarden, the stone, landscape, views and functionality as a guiding axis for the project. To achieve this, we used stone pavements in the exteriors with green joints; the building was divided with a different concrete finish than the rest of it with differnt formwork and pigments. The promenade communicates the building and represents a path, generating a roofgarden and a business center.

L C I O F F I C E B U I L D I N G


With the intentions of setting a local reference, achieving certain intimacy and the search of uncommon sights to fabrics near the site, we decided to lift a part of the project distributing the program in small floor plans. At the same time, at ground level, a small public square is open to the main streets.

L C O F F I C E B U I L D I N G


Finally, in the third level a roof garden is developed to create a microsystem in which the decontextualization of elements interact with a new context that integrates with the existing tensions.

G R G H O U S E


The project begins with a 60% of inclined rooftops forced by local normative. This circumstance took us to observe what happens in different towns of Mexico and we found a great richness in the images where the rooftops mix with each other to generate a composition of diagonal planes.

The ground floor works as a whole but in the first floor, the volumes are independent to achieve a unique personality in each space.

At the same time the space manipulated by the inclined rooftops gives sense to a series of walkways that communicate the exterior and interior in different ways.

L A R A D I T A R E S I D E N C E

M A N Z A N I L L O · C O L I M A · M E X I C O · 2 0 1 2 - 2 0 1 5 · P R O J E C T

This proposal tries to give sense to the place and context. The sea and jungle have very different tensions that we tried to inte-grate in the house exploding the program in various volumes that relate independently with the landscape.


The use of plaster with local sands makes the materiality belong to the site thanks to its chromatic. The absence of glass made us study the different orientations to achieve sea breeze from the ocean and fresh wind from the mountains in the after-noon. This way we connected with local lifestyle integrating the house with a closer experience to the place.

L A R A D I T A R E S I D E N C E

M O N E X R E S I D E N C I A L C O M P L E X

G U A D A L A J A R A · J A L I S C O · M E X I C O · 2 0 1 4 - 2 0 1 5 · P R O J E C T

The building is proposed in a 1200 square meter land in an avenue that is not only one of the busiest in town but also delimits the traditional neighborhood of Santa Tere. The project has commerce in the ground floor and apartments in the rest of the building. Thef integration of the building with it’s context is achieved by the views, having in mind that the tower will be a new vertical reference in the avenue.

Vertical circulations are concentrated in the center of the building, liberating the perimeter allowing views in every single orientation. Building’s structure is visible in the perimeter as well, providing every apartment have it’s own terrace. The facades where designed trying to standarize it and help the construction process by using only two types of windows along the project.

Luis Aldrete l estudio de arquitectura

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