82
men ion
Pau Baje
Time Ca alys s: Resea ch by Design in he Loose Ends o Ba celona
Time Ca alys s: Resea ch by Design
in he Loose Ends o Ba celona
Au ho Pau Baje
Supe iso s Flo ian Beigel (LondonMe ) and Philip
Ch is ou (LondonMe )
Co-Supe iso Ma hew Ba ac (LondonMe ) and Pe e
Joan Ra e lla (UPC)
Uni e si y London Me opoli an Uni e si y (UK)
Ju y membe s Sa a de Giles (ETSA Se illa), Kelly Shan
non (KU Leu en) and Pe e S . John
(LondonMe ). Vi a examina ion chai ed
by Nicholas Temple (LondonMe ).
Published in a 1935 epo o he Po o Ba celona building com-
mi ee, his ‘ske ch’ plan (c oquis) depic s a ch onology o he po ’s
de elopmen s o e cen u ies.1 On he le (no h) side, o e laid do -
ed lines desc ibe a kilome e o p og essi e sho eline eclama ion
be ween he 15 h and 18 h cen u ies whe e he popula qua e
o Ba celone a would la e be buil . This immense land ex ension
appea ed acciden ally as a consequence o he a duous ask o
cons uc ing a dike ha would p ese e a na igable body o sea
wa e — he ci y’s new po —sa egua ding i om sand ba ie s pe -
sis en ly o med and e o med by he p e ailing no h o sou h sea
cu en . This was a slow endea ou , g adually ad ancing and
1 Jun a de Ob as del Pue o de Ba celona, Memo ia (Ba celona: Indus ias C. Co ne , 1935),
50. D awing by P. Ribas.
1. De ail o P. Ribas, ‘C oquis B: Reseña his ó ica del Pue o
de Ba celona desde su o igen has a la ac ualidad’, 1935.
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2. P. Ribas, ‘C oquis B: Reseña
his ó ica del Pue o de Ba ce-
lona desde su o igen has a la
ac ualidad’, 1935. Sou ce: Jun a
de Ob as del Pue o de Ba celo-
na, Memo ia (Ba celona: Indus-
ias C. Co ne , 1935)
ailing o e mo e han wo hund ed yea s. Unwi ingly o no , he
a i ice o he dike in i s design o conceal he po combined wi h
me eo ological dynamics and pa e ns o sedimen a ion, including
inc eased allu ial deposi s om he Besòs i e —bo h na u ally and
an h opically p oduced— o suppo he o ma ion o a new pla eau
on o which he ci y would la e expand. In o he wo ds, he dike
unc ioned as a ca alys in he slow gene a ion o a new human and
nonhuman landscape. I may be seen, e ospec i ely, as an ins u-
men ha made use o a long passage o ime o s imula e u ban
ans o ma ion. This hesis se s ou o ask: migh such ins iga o y,
ca aly ic, e olu iona y igge s o mani old ci ic de elopmen be
delibe a ely designed?
My decision o s a he hesis wi h his d awing is apposi e o se -
e al easons: because he ske ch plan illus a es he po en ial o
p og essi ely u ban ans o ma ion o e ime; because as a ep-
esen a ion, he d awing succeeds in depic ing an accumula ion o
in e als and changing si ua ions; because I enjoy i s combina ion
o sha p p ecision and loose ambigui y; because he d awing is no
o ien ed acco ding o a uni e sal ule o g id (ca dinal di ec ions)
bu o ganised om he inside-ou , acing he sea om he ci y—as
we inhabi an s do—while coinciding wi h he Roman geome ical
layou o he u bs aced mo e han wo housand yea s ago; and,
pe haps mos impo an ly, because by in oducing he p omise o
ime h ough his d awing, I e eal a key ac o in he a i ude o
s ance adop ed in my hesis: a o m o knowing h ough phenome-
na ha I can di ec ly expe ience in my e e yday li e—a li e li ed as
an a chi ec in Ba celona, nea Mon juïc, cul u ally and physically
embedded in he si e o his esea ch p ojec .
The hesis summa y is o ganized in o de o add ess a h ee old
pu pose: hema ically i aims o o mula e a deepe unde s anding
abou ea ing ime as a design ool in spa ial p ac ice; me hodolog-
ically i in es iga es an app oach o a chi ec u al esea ch ha de-
ploys design specula ion as a ehicle o enqui y; and in e hical and
p ac ical e ms, i ca es o he elabo a ion o speci ic ou pu s—in
he o m o si ua ed u ban p o o ypes and design s a egies— ha
se e o explo e he hesis opic and p ocedu es, while a he same
ime eme ging as ou comes on hei own e ms. Tha is o say, hey
come in o being as dis inc i e ci ic a e ac s, embodying and ye
anscending he o igin o hei monog aphic in es iga ion. Finally,
he in oduc ion concludes wi h an explana o y no e ha explains
he layou o he hesis and guidance ega ding i s na iga ion by
he eade .
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Time as a Design Tool
How may we unde s and and app op i-
a ely exploi he po en ial o ime in spa ial
p ac ice? This s udy in es iga es he use o
ime as a design ool h ough a coho o
in e wo en p ojec s ha explo e a h esh-
old in scale and in p ac ice be ween a chi-
ec u e and u banism, aiming o ca e ully
ans o m p e-exis ing, agile u ban en i-
onmen s. Building upon an awa eness o
he immense adi ion o he s udy o ime
in he humani ies, his opic is app oached
h ough speci ic philosophical amewo ks.
F om ha angle, he passage o ime pe -
o ms libe a ing and a ec i e po en ials o
indi idual and collec i e igh s o app op ia-
ion and ans o ma ion.1 Pa icula ecolog-
ical and poli ical awa eness igge play ul
ye se ious p ac ices o change, ca ing o
mani old human and nonhuman con ex s.2
This app oach o change is phenomenologi-
cally si ua ed, he e o e eclaiming he esis -
ance o mundane hy hms oo ed in o dina y
places and, in his way, aking deligh in slow
du a ions o p og essi e ans o ma ion.3
Besides philosophical con ex , an a ay o
selec ed a chi ec u al p eceden s and c i-
1 Le eb e, Pe spec i e o P ospec i e, in W i ings on Ci ies.
2 Mo on, Being Ecological, 186.
3 Ba ac, “Place Resis s: G ounding A ican U ban O de in
an Age o Global Change,” Social Dynamics, 24-42.
ique es ablish he g ounds o discussion in
he lead-in chap e s o he hesis. This li e a-
u e e iew s a s by po aying he eedom
o spa ial app op ia ion on an e e yday ba-
sis, no being enhanced by ha mless neu-
ali y, bu by physical and cul u al speci ic-
i y, ye emaining inde e mina e and openly
in e p e able.4 Then, amid pos -wa pa a-
digms o he open o m and pa icipa ion, a
wide eading o Hab aken’s app oaches un-
olds—beyond objec ual buildings—a deep
e i o y o li e con igu a ions, wi h gene a-
i e suppo s and in e pe sonal capaci y o
4 Beigel and Ch is ou, “B ike ab ik Wi zni z: speci ic inde-
e minacy – designing o unce ain y,” a q: A chi ec u al Re-
sea ch Qua e ly, 18-38.
habi a ion and ans o ma ion o e ime.5
Following he design concep o ‘landscape
in as uc u e’ de eloped by Flo ian Beigel
and Philip Ch is ou since he 1990s, hese
li e con igu a ions (o in as uc u al le els)
a e sugges ed o be ga he ed om si ua ed
aces o speci ic ma e ial and cul u al con-
ex s, engaging wi h ound p e-exis ence, o
loosely sugges u u e habi a ional deligh ,
a any scale om landscape o u ni u e.6
In dialogue wi h all his li e a u e, he hesis
5 Hab aken, Suppo s: an Al e na i e o Mass Housing. Ha-
b aken, The S uc u e o he O dina y. Fo m and Con ol in
he Buil En i onmen .
6 Beigel and Ch is ou, “Time a chi ec u e: S ad landscha
Lich e elde Slid, Be lin,” a q: A chi ech u al Resea ch Qua -
e ly, 204.
3. E ik F ibe ge , Däckhuse housing p ojec in Gö ebo g
(1959). Sou ce: Digi al Museum, om he Swedish Cen e
o A chi ec u e and Design
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iden i ies gaps o esea ch specula ion in-be ween scales and yp-
ical si ua ions, conce ned wi h a wide no ion o habi a ion beyond
p og amma ic and ypological educ ions, while b inging cu en po-
e ic, ec onic, poli ical and ecological conce ns.
Thema ically, he hesis posi s he ollowing esea ch ques ion: wha
so o a chi ec u al p ocedu es may os e he design o c oss-sca-
la spa ial ca alys s o deligh ul app op ia ion and ans o ma ion
o e ime? In line wi h a sensibili y exp essed abo e, he hesis
is conce ned wi h—and in ends o enjoy—mundane si ua ions and
wicked p oblems o ou o dina y ci ic en i onmen s. In pa icula ,
i ca es o damaged u ban inges ha ha e su e ed he ise and
all o u banisa ion and indus ialisa ion in he bo de lands o ci ic
co es, he o en un a elling o neglec ed ‘loose ends’ o he ci y. In
his ega d, an ini ial wo king hypo hesis sugges ed ha he no ion
o ‘ ime ca alys s’ may embody he po en ial o spa ial s imulan s o
joy ul change. Bu hese ime ca alys s could no depa om decon-
ex ualized abula asa o isola ed labo a o y expe imen s. Ins ead,
hey should only be ga he ed as a chi ec u al o u ban enhance-
men s and addi ions o a ound opog aphy, al eady ich in phys-
ical and cul u al e ms, aking ad an age o hei unique si ua ed
con ex s. Mo eo e , acco ding o his hypo hesis, he a chi ec u al
con igu a ion o ime ca alys s depa s om an unde s anding o a
ac al ield o ambi alences be ween pe manence and change—
amids consecu i e in as uc u al spaces and hei capaci y o s im-
ula e successi e app op ia ion a mul iple scales—inco po a ing
no only spa ial quali ies om au onomous a chi ec u al pa ame e s
(e en i hese oo), bu emb acing di e ging pu poses and meaning
om ansdisciplina y conce ns. While lea ning om li e a u e and
p eceden s, as well as by del ing in o he in es iga ion o speci ic
designs in he ‘loose ends’ o Ba celona, I was su p ised o ealise
how na u ally hese localised conce ns easily expand in o mul i-
4. ARU, S ad landscha Li-
ch e elde Süd, Be lin.Th ee
collage d awings on acing
pape , by Pe e Bea d, ARU.
(4.1) Exis ing ees in he
landscape. (4.2) P oposed
landscape in as uc u e, es-
ablishing ield s uc u e. (4.3)
Ea ly s ages o ield se le-
men . Sou ce: Flo ian Beigel
and Philip Ch is ou, T ansla-
ions (Basel: Ch is oph Me ian
Ve lag and Swiss A chi ec u e
Museum, 2014), p.13.
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5. Ma ie-José Van Hee, Ten a i e loose ske ch o House Van
Hee. (2019). Sou ce: Cou esly o Ma ie-José Van Hee.
ace ed ma e s, hus en iching hei a chi-
ec u al g ound and s imula ing unexpec ed
ec onic u ns a mul iple scales. Be o e in-
oducing he design p oduc s o his in es-
iga ion, ou lining hei pu poses, scope and
cha ac e , he nex sec ion aims o add ess
‘how’ his esea ch is unde aken.
Design as a Resea ch Vehicle
This hesis na iga es he me hodological
e ain o a chi ec u al esea ch which, one
migh a gue, is a imes swampy o a leas
mu ky, eigh ed in some qua e s by con-
o e sy and some imes by dispu e. The
design-led app oach adop ed is ela i ely
amilia in Anglo-Saxon and No he n Eu o-
pean uni e si ies—e en i s ill a young and
compa a i ely unce ain me hod a a doc-
o a e le el, as I discuss in he hi d chap-
e —and ye a me hodological pa hway o
a chi ec u al esea ch ha emains la gely
unseen in ins i u ions wi h a deep adi ion
o doc o al s udy (including he Poly ech-
nic Uni e si ies o my homeland). This ap-
p oach o a chi ec u al in es iga ion asks:
why shouldn’ a chi ec s ely on hei own
p axis as a co e ins umen o doc o al in-
es iga ion? Why can’ he p ocess o de-
sign specula ion be embedded as pi o al o
c i ical and p ospec i e quali a i e enqui y?
These ques ions poin o he po en ial o a
specula i e a ea o a chi ec u al esea ch,
an angle conce ned wi h insecu e, o be e
said ‘designe ly’ ways o knowing.7 This an-
gle p io i ises ele ance abo e e i ica ion,
enqui ing unce ain in e ela ions o explici
and aci , e en ine able, o ms o connois-
seu ship.8 This me hodological jou ney a -
7 A che , “Design as a Discipline,” Design S udies, 17-20.
8 Polanyi, Pe sonal Knowledge: Towa ds a Pos -c i ical Phi-
losophy, 92.
emp s o b idge a chi ec u al p ac ice and
heo y, b inging oge he ‘ he in ui ion o
making’ wi h he c i ical dis ance o ‘p op-
e hinking’—a auma ic disjunc ion ela ed
o he spli be ween a is ic and scien i ic
sphe es in he 18 h cen u y. 9 Fo a long
ime, a chi ec u al esea ch has depa ed
om analysis, in e p e a ion and heo isa-
9 Pe ez-Gomez, A chi ec u e and he C isis o Mode n
Science, 324.
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jec s a a ying scales, enjoying i id si ua ions, while sus ain ing a
deep dialogue wi h li e a u e, a chi ec u al p eceden s and e e y-
day obse a ion. In e ms o me hodology, my con ibu ion in ends
o a icula e his sensibili y in dialogue wi h a schola ly con ex o
esea ch h ough design, by p oposing a pa icula me hodological
s uc u e and ou pu .
Me hodologically, his PhD asks: wha is he ole o designing and i s
p oduc ion—p ojec s o a e ac s—as a pi o al ehicle o a doc o al
in es iga ion in a chi ec u e? Wha is he in e ac ion be ween design
ion o physical o cul u al phenomena ixa ed in he pas , es ab-
lishing a sa e c i ical dis ance wi h i s objec s o s udy. Undoub edly,
his emains a sound and ui ul pa hway o a chi ec u al knowl-
edge ha I do no in end o unde mine. None heless, my sugges-
ion is ha a p ocedu e ha uses design specula ion as a esea ch
ehicle, may o e an addi ional s a um, u he en iching and ex-
panding a wide ield o a chi ec u al esea ch.
La e in he hesis we will ou line a philosophical and schola ly
con ex o his epis emological pa hway, es ablishing condi ions
and pu poses o he ole o design in he con ex o doc o al in-
es iga ion. In addi ion, gi en my ini ial unacquain ance wi h his
ype o esea ch—and looking o me hodological s abili y—o e
he cou se o he hesis, I ha e mapped ou an a ay o PhD p o-
g ammes a ound he globe ha ha e o ged he i s s eps o his
app oach in he pas 30 yea s. This con ex ualisa ion has been
published elsewhe e in a condensed o ma , ye no included in his
hesis o a oid an excess o me hodological ma e ials.10 Wi hin his
esea ch e i o y, he hesis ollows a phenomenological sensibili y,
one ha emb aces he ac o designing as a medium o esea ch,
enjoying i s dep h, unce ain y and ambigui ies. The he meneu i-
cal p inciple o knowledge p oduc ion and e lec ion om wi hin he
con ex o expe ience and c ea i i y is he e b ough in o being in an
a chi ec u al p emise. This sensi i i y is deeply in luenced by ARU
(A chi ec u al Resea ch Uni ) a London Me opoli an Uni e si y, a
design labo a o y ha o decades has used ‘design as esea ch’ as
a me hod o enqui y.11 Thei in es iga ions—e en i a ely a a doc-
o al le el—ha e ocused on spa ial and design concep s, explo ed
as monog aphic enqui ies, es ed and un olded h ough li e p o-
10 Pau Baje , “PhD: G asping Knowledge Th ough Design Specula ion,” IX Wo kshop on
educa ional inno a ion in a chi ec u e: JIDA’21, 424-437.
11 Beigel and Ch is ou, T ansla ions, 7.
6. Ea ly explo a ion o design s a egies as a i ices (2016)
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specula ion and s anda d academic p oce-
du es? Wha should be he s uc u e o his
kind o doc o a e and i s balance be ween
li e a u e, backg ound ma e ial, and co e ‘by
design’ con en : be ween wo ds and d aw-
ings? Wha so o o ms may embody he
app ehensions ga he ed om he p ocess o
designing, in o de o make hem communi-
cable o o he s? This esea ch jou ney has
no been easy. F om he beginning i has
encoun e ed a ho ny con adic ion be ween
he necessi y o o mula e monog aphic en-
qui ies—as in any doc o al esea ch—and
he expansi e, mani old and ansdiscipli-
na y na u e o designing speci ic, si ua ed
a chi ec u al and u ban p ojec s. In he he-
sis, I a gue ha om his inhe en di icul y
and con adic ion, dis inc (pe haps a he
ele an han e i iable) and unexpec ed
indings ha e a isen.
Du ing he ea ly s eps o he doc o a e, in a
con e sa ion sus ained wi h Flo ian Beigel,
Philip Ch is ou and Pe e Ca l, a me hod-
ological hypo hesis ook o m: i depa ed
om a di e en ia ion be ween ‘a e ac ’ and
‘a i ice’, he o me unde s ood as he ou pu
o pe sonal design specula ions (ca ying in-
e able knowledge in i sel ) and he la e as
a necessa y subsequen in en o p opose
explici and communicable—e en i am-
biguous— o mula ions ha could embody
design s a egies o concep s lea ned om
he p ojec s. These a i ices should no be
con used wi h abs ac p inciples un oo ed
om he ma e ial wo ld o be au oma ically
gene alised elsewhe e. On he con a y, ap-
p oached by means o designe ly ways o
knowing, he a i ices implied he necessi y
o p ac ical skill and in en ion om designe s
o be subjec i ely in e p e ed in an icipa ion
o he u u e.12 A i ices canno be ead by
hemsel es, bu only in e p e ed by design-
e s in ela ion o hei pe sonal dex e i y and
expe iences, as well as in ela ion o he
speci ic p ojec s ha sugges ed hem in he
i s place. My hypo hesis was ha hese
a i ices would esul in a amily o nuanced
isual-w i en design s a egies embodying
insigh s compiled du ing he design jou ney.
Si ua ed U ban P o o ypes
and S a egies
The cen al and inal chap e s o he hesis
a e de o ed o si ua ed design specula ions
de eloped on my own as he co e ehicle
o his s udy. The si e o he esea ch p o-
jec is in he Ba celona sou he n loose ends,
behind he hill o Mon juïc nea he sea, in
a o me ag icul u al e ain now abso bed
by decayed ea ly indus ial de elopmen s
and was eland, all seemingly besieged by
12 Rykwe , The Necessi y o A i ice, 59.
as me opoli an in as uc u es including
he main po o he ci y. This place is ap-
p oached a di e en scales, s a ing wi h a
ci y edge landscape p ojec , con inuing wi h
an u ban g ain ans o ma ion, and conclud-
ing wi h smalle -scale ci y in e io p opos-
als, always wi h he in en ion o ga he ing
c oss-scala design s a egies. I is impo -
an o make clea ha bo h my subjec i e
7. Beach o Can Tunis po ayed as leisu e des ina ion in
Des ino magazine, a icle by Paco Candel (1958). Sou ce:
Des ino, No. 1096 (9 augus 1958).
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ecollec ion o con ex ual da a (con aining
biological, geological, clima ic, his o ical and
economic, among many o he conce ns),
as well as he u ban and a chi ec u al p o-
posals (en ailing en i onmen al, he mody-
namic, sociological, se ices and s uc u al
speciali ies) ha e been app oached a an
indi idual scale, based on in o ma ion ob-
ained be ween 2015 and 2020 om public
sou ces, wi h he pu pose o es ablishing a
i id con ex o a modes ye meaning ul
doc o al in es iga ion. The e o e, i s spe-
ci ic u ban analyses and p oposals canno
be aken as comp ehensi e de elopmen s,
ha in p o essional p ac ice would ha e e-
qui ed b oade in e disciplina y eam e o s-
By explo ing he concep o ime ca alys s
h ough design specula ion and, he e o e,
enjoying i id si ua ions ancho ed o his
speci ic place, he hesis p oduces a coho
o p ojec s ha ca y on hei monog aphic
in es iga ion—main aining a dialogue wi h
his o ical and mode nis p eceden s as cap-
u ed in he li e a u e ci ed—and, s ill, hey
go beyond in o e ing esh u ban and a chi-
ec u al p oposi ions, wi h singula quali ies
o hei own, esponding o g ounded social,
ecologic and poe ic ma e s.
This si ua ed explo a ion add esses de-
sign-specula i e esea ch in a wo-s ep p o-
cess. Fi s ly, design appea s as a me hod
o in e p e a ion o seeing and cons uc ing
subjec i e places, h ough selec ing and
ske ching agmen a y si ua ions o po en-
ial. In es iga ed a di e en and some imes
o e lapping scales, his ope a ion un eils
unexpec ed quali ies om ma ine and ag-
icul u al memo ies, indus ialis in as uc-
u es, acciden al s ee scapes and ya ds, a
haphaza d plo di ision, and a p osaic ci y
g ain o sheds and owhouses. These in e -
p e a ions make appa en agile physical
and cul u al opog aphies ha al eady sug-
ges di ec ions o u u e change. Appea ing
8. Plan o he Llob ega Del a o e cen u ies, in-
dica ing ag icul u al and u banised land.
Fi s d awing 1s o 10 h c.
Second d awing 11 h o 20 h c.
Thi d d awing 21s c. 9. Ya ds and alleys as ound spa ial in as uc u e (2017).
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as ins iga o s o upcoming app op ia ion
and ans o ma ion, hese spa ial si ua ions
a e iden i ied as ‘ ound- ime ca alys s.’
In a second s ep, design appea s as a e-
hicle o wide specula ion, launching and
es ing he po en ial o ime in o no el spa-
ial o m. In he esea ch, his p ocess akes
place h ough a cons ella ion o p ojec s a
a ying spa ial, social and empo al scales,
by enhancing he p e iously ound si ua-
ions and, a he same ime, by c ea i ely
eleasing ‘new- ime ca alys s’ in dis inc ,
esh o ms.
● A a la ge scale, a human-made ge-
ological sho eline is p oposed as a so-
cio-ecological h eshold ha connec s
Mon juïc and he del a, while ca alysing
ho icul u e, leisu e, wo kspace, li ing
and collec i e memo y, as well as im-
p o ing he wa e cycle, biodi e si y and
mic oclima ology.
● A an in e media e scale, an acciden al
s ee s uc u e is p oposed, by g adually
al e ing o dina y ound u ban si ua ions.
This p oposal adically opposes a abula
asa app oach, in his way enjoying and
ca e ully dis o ing his o ical di e ences,
while a oiding local displacemen .
● A a smalle scale, a coho o p ojec s
explo es he po en ial o sha ed u ban
suppo s o house a changing, non-p o-
10. View o a gene a i e we land o he Es any de Po .
11. S udy o new wa e s eams and we lands (2021).
12. Enhanced ci y edge ae ial iew.
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97
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No e: excep s a ed o he -
wise, d awings and images
ha e been p oduced by he
au ho .
12-2025
www.du .upc.edu
The Fi h Manuel de Solà-Mo ales Eu opean P ize 2025
