Contemporary architectural topics 2024-2025: MBArch contemporary project

Contemporary architectural topics 2024-2025 MBArch – Contemporary poject Course 2024-2025 Prof. Rubén Navarro-González APRÈN HERITAGE, MEMORY, RENEWAL AND REUSE SUSTAINABILITY TECHNOLOGY AND MATERIALITY FLEXIBILITY, ADAPTABILITY, REVERSIBILITY COMMON SPACES AND SOCIAL LIFE ECONOMY, POLITICS AND ARCHITECTURE ACCESSIBILITY Contemporary architectural topics 2024-2025 MBArch – Contemporary poject Prof. Rubén Navarro-González Cover image credit: Daniel Astorga, Valeria Carrera, Maria Jacinta Gonzalez, Aleksandra Kanukova and Manqi Lao; 2024. APRÈN HERITAGE, MEMORY, RENEWAL AND REUSE SUSTAINABILITY TECHNOLOGY AND MATERIALITY FLEXIBILITY, ADAPTABILITY, REVERSIBILITY COMMON SPACES AND SOCIAL LIFE ECONOMY, POLITICS AND ARCHITECTURE ACCESSIBILITY 6MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 Contemporary Architectural Issues 2024-2025 APRÈN INDEX OF CONTENTS List of articles Foreword Syllabus Course schedule List of participants List of teams and assigned buildings Keywords and issues slected by students From crisis to community: La Borda’s vision for collective and affordable housing. From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration. From concept to practice: the flexible design of MAIO’s 110 rooms. La Carboneria: a study of the symbolic use of common circulations. Understanding form through present and future function. 105 apartments for the elderly case study. 85 social housing in Cornellà de Llobregat. / 7 / 8 / 10 / 12 / 13 / 14 / 15 / 18 / 50 / 78 / 106 / 146 / 178 7 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues Contemporary Architectural Issues 2024-2025 APRÈN LIST OF ARTICLES From crisis to community: La Borda’s vision for collective and affordable housing. By: CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin. Keywords: Citizen movement, cooperative structures, feminist/inclusive architecture, collective spaces. From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration. By: MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia. Keywords: Historical heritage, social housing, reversibility, changing stages, permanence, sustainability. From concept to practice: the flexible design of MAIO’s 110 rooms. By: ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi. Keywords: Flexibility, sustainability, use-oriented materiality, inclusivity, adaptive reuse. La Carboneria: a study of the symbolic use of common circulations. By: DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe. Keywords: Circulation out, thresholds, movement and time in common circulations, deisgning circulation areas, inside out, memory of a place. Understanding form through present and future function. 105 apartments for the elderly case study. By: DAI, Jiayi, WANG, Sixian, LI, Xiaotong, BECERRA, Fernanda. Keywords: Activity, Accessibility, Flexibility, Adaptability. 85 social housing in Cornellà de Llobregat. By: DUARTE, Patricio, MILESI, Pia, TEODORCYK, Michal and UHTHOFF, Daniel. Keywords: Urban relation, social interaction, adaptability, materiality. 8MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 Contemporary Architectural Issues 2024-2025 APRÈN FOREWORD After a first experimental edition during fall 2022, this document publishes the results of the third edition of the remodeled subject Contemporary Architectural Issues, taught in the Contemporary project line of Barcelona Tech’s Master’s Degree in Advanced Studies in Architecture-Barcelona (MBArch). While it is common to all architecture schools to demand from their students mastering drawing as an applied tool for architectural design, it is less common to train them in writing, language and generic epistemological and research skills. Nevertheless, this course encourages students to confront architectural design as a study matter from the point of view of a thinker –a theorist, if you prefer–, not a practitioner. In doing so, it aims to give its students tools and strategies to broaden their points of view and critique capabilities so that they can take advantage from when dealing with their own designs as architects. To achieve this, it takes advantage of its cooperation agreement with the Mies van der Rohe Foundation, settled throughout past years, and proposes the students to dive into its database looking for contemporary architectural themes and issues to think about. Arranged in teams, students are thus faced with the chance for a deep study of a single, particular building of their choice. During the first weeks of gathering of information, questions, problems and issues of debate emerge from the thoughtful glance on the building. The building, which in the first part of the course seems to be the main object of study, then slowly starts to become a simple excuse to talk about wider, common, spreading architectural issues, nuclear to contemporary challenges. But still, it remains an important excuse: as every idea, every concept, every debate, still remains anchored to the building from which it emerges –although it is most likely to overcome it. This tension is hardly to be solved by just working on a single building without context. That’s where the need for external sources, cultural references, study cases for comparison, etc. comes in, and also the need to master research tools and techniques to access the adequate sources with the proper quality. What can be the point for young architects in doing so? Well, take you’re an architect. Suppose you’ve left your first years of professional practice behind. Most probably by now, you’ll be reaching the time in which you’ve come to master with reasonable ability the conventional methods and tools of contemporary architecture when facing the ever more standardized functional programs of our increasingly globalised societies. You may find yourself repeating the same solutions, the same repertory of elements, systems and types which form contemporary architectural culture one and over again and start to wonder: is that all to architecture? That’s where that itch for research, for innovations and new exciting discoveries may also start taking growing importance in your head. This leads to the question of research in architecture. How does one, indeed, conduct research in such a field, as a practicing architect and without becoming a scholar? A currently spreading and too easy answer states that just by designing, by professional practicing. Well, I’m convinced that while this may be partially true, it is neither completely. While many architects like to think they think by drawing –and this may be true in the limits of a mannerist-like conception of professional practice–, there’s still an evident difference between doing and thinking. Thinking on an issue needs its own methods, strategies, sources and re-sources, if not different mechanisms of epistemological control than the bare testing of the limits and possibilities of conventional practice. 9 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues Contemporary Architectural Issues 2024-2025 APRÈN That is why the main exercise of this subject proposes its students to write an academic article, on the issues debated by each team, and using the selected building as a study case: What would happen if you would gather young architects from all over the world, with different backgrounds, instruction, training experiences, cultural views and architectural interests, and would tell them to study a specific building and select and debate on linked architectural problems and then try to gather their findings in a structured collectively written text? What worries, what debates and discussions, what keywords would emerge? What would call their attention? What would they have to say about? What follows is a possible answer to all these questions, in the form of suix collectively written articles by the students of the 2024/25 edition of the course who, in my opinion, have shown lucidity, complex glances and thinking, an ability to structure their worries in written form, to reconcile their different backgrounds, knowledge and points of view in open shared debates and the ability to build a coherent critique narrative above all; an experience which I personally have fully enjoyed as a teacher and hope will have the chance to be part of many more times in the future. Rubén Navarro González Barcelona, January 2025 16 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN From Crisis to Community: La Borda's Vision for Collective and Affordable Housing -ABSTRACTLa Borda, a cooperative housing project located in La Bordeta neighborhood in Barcelona, serves as a notable example in the ongoing struggle for affordable, sustainable, and inclusive housing in Spain and Europe. Developed out of the broader socio-political context of Spain’s financial crisis 2008 and the housing problems that followed, La Borda presents an alternative to the speculative real estate market by emphasizing community ownership, cooperative design, social equity, and environmental sustainability. The project embodies a form of collective living, where residents share responsibility for the building’s maintenance, governance, and long-term viability. This essay explores La Borda’s prior citizen movement that empowered the Can Batlló community, understanding the cooperative structure, the role of its collective spaces in fostering strong social connections and promoting a more equitable and inclusive community and lacol’s architectural design. By exploring its achievements and challenges faced by La Borda, the essay underscores the potential for cooperative housing to offer viable solutions to the housing crisis while advocating for community-driven urban development. Keywords: CITIZEN MOVEMENT, COOPERATIVE STRUCTURES, FEMINIST / INCLUSIVE ARCHITECTURE, COLLECTIVE SPACES Joseph Corrales, Noah Ehlers, Samantha Ehrman, Calvin Schwabe 17 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN From Crisis to Community: La Borda's Vision for Collective and Affordable Housing -ABSTRACTLa Borda, a cooperative housing project located in La Bordeta neighborhood in Barcelona, serves as a notable example in the ongoing struggle for affordable, sustainable, and inclusive housing in Spain and Europe. Developed out of the broader socio-political context of Spain’s financial crisis 2008 and the housing problems that followed, La Borda presents an alternative to the speculative real estate market by emphasizing community ownership, cooperative design, social equity, and environmental sustainability. The project embodies a form of collective living, where residents share responsibility for the building’s maintenance, governance, and long-term viability. This essay explores La Borda’s prior citizen movement that empowered the Can Batlló community, understanding the cooperative structure, the role of its collective spaces in fostering strong social connections and promoting a more equitable and inclusive community and lacol’s architectural design. By exploring its achievements and challenges faced by La Borda, the essay underscores the potential for cooperative housing to offer viable solutions to the housing crisis while advocating for community-driven urban development. Keywords: CITIZEN MOVEMENT, COOPERATIVE STRUCTURES, FEMINIST / INCLUSIVE ARCHITECTURE, COLLECTIVE SPACES Joseph Corrales, Noah Ehlers, Samantha Ehrman, Calvin Schwabe I. INTRODUCTION II. BODY A.The Can Batlló Citizen Movement: Reclaiming Urban Space for Community Empowerment 1. Introduction 2. Supporting Ideas 3. Summarizing/Concluding/Transition sentence B. COOPERATIVE STRUCTURES 1. The need for housing 2. Roots of the housing crisis 3. Land for the people 4. Foundation of a cooperative 5. Financing 6. Perspective in the housing market C. INCLUSIVE ARCHITECTURE 1. International examples of Cooperative Housing 2. Design spaces conducive to equality 3. Historical Gender Roles in housing 4. Vulnerable Population D. COLLECTIVE SPACES 1. Social connectivity and interaction 2. Flexibility and adaptability 3. Environmental sustainability 3. Building collective care III. CONCLUSION BIBLIOGRAPHY LIST OF FIGURES 1 18 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN INTRODUCTION Located in the district of Sants, just to the West of Montjuïc, one would walk along the streets of La Bordeta, a now mostly residential neighborhood on the former industrial site of Can Batlló. Strolling down Carrer de la Constitució, one of the few main roads, characterized by three to six story tall residential buildings in a variety of architectural styles of the last century, a structure on the left side would suddenly stick out. Not only the missing balconies compared to its many neighbors, but the shimmering surfaces of the metal and semi-transparent facade reflecting the blue of the sky, divided by two rows of horizontal window openings, separate it from the direct surrounding and let it seem like an open space nestled in between two other buildings. Getting closer and in front, a bright green storefront contrasts the gleaming upper part and catches the eye of the visitor. The continuity of small businesses located along the sidewalks of the street is only interrupted by a sudden void in the lower left part, allowing the visitor to enter the structure from the sidewalk, encouraging one to go further and come out on the other side or to visit the small store facing the street. The perception of La Borda as described above makes its characteristic appearance stand out in the urban environment and gives a hint to its unconventional conception and design. The 2022 winner in the Emerging Architecture category of the EUmiesaward was recognized for its socially, ecologically, and economically sustainable approach to housing development. Designed by the Barcelona-based architectural cooperative Lacol and completed in 2016, it functions as an alternative housing project within the city's context and plays a significant role in the contemporary housing debate in Spain and beyond. It is recognized as a successful example for its unique approach to fostering a way of life centered on community, placing the value of housing and people above financial or individual interests. This article examines La Borda’s origins in the citizen movement that empowered the Can Batlló community, delving into its cooperative structure, the significance of collective spaces in building social connections, and Lacol’s architectural approach. By highlighting La Borda’s successes and challenges, the artic emphasizes on the potential of cooperative housing as a solution for the housing crisis and a model for community-driven urban development. 2 19 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN INTRODUCTION Located in the district of Sants, just to the West of Montjuïc, one would walk along the streets of La Bordeta, a now mostly residential neighborhood on the former industrial site of Can Batlló. Strolling down Carrer de la Constitució, one of the few main roads, characterized by three to six story tall residential buildings in a variety of architectural styles of the last century, a structure on the left side would suddenly stick out. Not only the missing balconies compared to its many neighbors, but the shimmering surfaces of the metal and semi-transparent facade reflecting the blue of the sky, divided by two rows of horizontal window openings, separate it from the direct surrounding and let it seem like an open space nestled in between two other buildings. Getting closer and in front, a bright green storefront contrasts the gleaming upper part and catches the eye of the visitor. The continuity of small businesses located along the sidewalks of the street is only interrupted by a sudden void in the lower left part, allowing the visitor to enter the structure from the sidewalk, encouraging one to go further and come out on the other side or to visit the small store facing the street. The perception of La Borda as described above makes its characteristic appearance stand out in the urban environment and gives a hint to its unconventional conception and design. The 2022 winner in the Emerging Architecture category of the EUmiesaward was recognized for its socially, ecologically, and economically sustainable approach to housing development. Designed by the Barcelona-based architectural cooperative Lacol and completed in 2016, it functions as an alternative housing project within the city's context and plays a significant role in the contemporary housing debate in Spain and beyond. It is recognized as a successful example for its unique approach to fostering a way of life centered on community, placing the value of housing and people above financial or individual interests. This article examines La Borda’s origins in the citizen movement that empowered the Can Batlló community, delving into its cooperative structure, the significance of collective spaces in building social connections, and Lacol’s architectural approach. By highlighting La Borda’s successes and challenges, the artic emphasizes on the potential of cooperative housing as a solution for the housing crisis and a model for community-driven urban development. 2 The Can Batlló Citizen Movement: Reclaiming Urban Space for Community Empowerment Introduction Can Batlló, located in Barcelona’s La Bordeta neighborhood, stands as a testament to the power of grassroots activism in reclaiming neglected urban spaces. Originally a thriving industrial hub, Can Batlló became a symbol of urban decay before evolving into a community-driven project. The transformation of Can Batlló is deeply rooted in the socio-economic struggles of its working-class community, the failures of neoliberal urban planning, and the determination of local residents to create a self-managed public space (Can Batlló Platform, 2011, pp. 101-105; Blanco and Nel·lo, 2018, pp. 212-213; Bianchi, 2018, pp. 180-182). The movement was inspired by decades of frustration over unfulfilled promises for redevelopment and the broader impact of the 2007-2008 financial crisis. Residents of La Bordeta, long accustomed to systemic neglect, sought to reclaim their neighborhood’s identity and resist the encroachment of neoliberal urban policies that prioritized private interests. Drawing on Barcelona’s rich history of grassroots activism, including the legacy of the 15M movement (was a series of protests, demonstrations, and occupations against austerity policies in Spain), the Can Batlló citizen initiative united diverse stakeholders around a shared goal: transforming the derelict site into a vibrant community resource (Blanco and Nel·lo, 2018, pp. 210-212; Bianchi, 2018, pp. 184-186). This article will begin by exploring the historical origins of Can Batlló, the socio-political context of its reclamation, the mechanisms of organization employed by its citizen movement, and the transformative impact on both the site and the community. Figure A1: View of Can Batlló, (LACOL). Historical Origins and Industrial Legacy Can Batlló was founded in the late 19th century during Barcelona’s industrial boom. It functioned as a textile factory owned by the Batlló family, serving as a significant source of employment for the working-class population in La Bordeta. During its operational years, the site attracted low-income workers, many of whom migrated from rural Catalonia and other parts of Spain in search of economic opportunities. These workers lived modestly, often in crowded housing, and relied on the solidarity of their neighbors to navigate the economic and 3 20 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN social challenges of industrial life. By the mid-20th century, however, the decline of Barcelona’s industrial sector left Can Batlló abandoned, transforming it into a derelict site and a glaring example of urban neglect (Can Batlló Platform, 2011, pp. 101-102; Bianchi, 2018, pp. 170-171). Figure A2: Batlló Family Portrait, (LA BARCELONA). Figure A3: Batlló Factory, (LA BARCELONA). The Socio-Political Context of Reclamation The decline of Can Batlló coincided with broader neoliberal urban policies that prioritized public-private partnerships over community needs. Redevelopment plans for the site were first introduced in 1976 but remained stalled for decades, with public facilities, green spaces, and roads promised yet unrealized. The 2007-2008 financial crisis exacerbated this neglect, halting redevelopment entirely and fueling frustration among local residents. By this time, the site’s condition symbolized systemic failures in addressing the needs of Barcelona’s 4 21 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN social challenges of industrial life. By the mid-20th century, however, the decline of Barcelona’s industrial sector left Can Batlló abandoned, transforming it into a derelict site and a glaring example of urban neglect (Can Batlló Platform, 2011, pp. 101-102; Bianchi, 2018, pp. 170-171). Figure A2: Batlló Family Portrait, (LA BARCELONA). Figure A3: Batlló Factory, (LA BARCELONA). The Socio-Political Context of Reclamation The decline of Can Batlló coincided with broader neoliberal urban policies that prioritized public-private partnerships over community needs. Redevelopment plans for the site were first introduced in 1976 but remained stalled for decades, with public facilities, green spaces, and roads promised yet unrealized. The 2007-2008 financial crisis exacerbated this neglect, halting redevelopment entirely and fueling frustration among local residents. By this time, the site’s condition symbolized systemic failures in addressing the needs of Barcelona’s 4 working-class neighborhoods (Can Batlló Platform, 2011, pp. 104-105; Bianchi, 2018, pp. 174-176). This frustration was amplified by inspiration drawn from the anti-austerity 15M movement, which highlighted the power of collective action and grassroots mobilization. Building on the momentum of 15M, the residents of La Bordeta recognized the potential of Can Batlló as a space to counteract the effects of neoliberal urban planning. The neighborhood’s history of solidarity and resistance—rooted in Barcelona’s anarchist traditions and labor movements—provided a strong foundation for the activism that followed (Blanco and Nel·lo, 2018, pp. 210-212; Bianchi, 2018, pp. 177-179). In response, a coalition of activists and local organizations formed the Can Batlló Platform (“Can Batlló es por el barri”) in 2010. Their efforts were rooted in a shared desire to reclaim the site for public use and create spaces that reflected the community’s needs rather than corporate interests. The Platform’s campaign, known as "Tic-Tac," issued an ultimatum to the city council: initiate redevelopment or face an occupation of the site (Can Batlló Platform, 2011, pp. 106-108; Bianchi, 2018, p. 190). Figure A4: “Tic-Tac” in Can Batlló, (LACOL). The Citizen Movement: Organization and Action The occupation of Can Batlló on June 11, 2011, marked a turning point in its history. The Platform’s grassroots approach emphasized participatory decision-making, inclusivity, and solidarity. Regular assemblies allowed members to discuss and plan initiatives, fostering a culture of collective action and shared responsibility. This bottom-up approach ensured that the community’s voice remained central to the transformation of the site (Blanco and Nel·lo, 5 22 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN 2018, pp. 212-214; Bianchi, 2018, pp. 193-194). The movement also drew inspiration from earlier urban struggles in Barcelona, such as the fight to preserve public spaces like Plaça de Catalunya during 15M. Figure A5: Triumphal entry and celebrations in Can Batlló on June 12th 2011, (Can Batlló). Activists adapted the participatory governance models championed by these movements, using them to organize projects that addressed immediate community needs. Can Batlló quickly evolved into a self-managed public space. The community established a cultural center (Bloc 11), urban gardens, workshops, and cooperatives. These projects embodied principles of solidarity and a commitment to social return, addressing the longstanding absence of public amenities in the area. Over time, the initiative expanded to include cooperative housing (e.g., La Borda), a social economy incubator (Coopolis), and a cooperative school. These developments highlighted the community’s ability to not only reclaim but also sustain and innovate within the reclaimed space (Can Batlló Platform, 2011, pp. 109-112; Bianchi, 2018, pp. 195-198). 6 23 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN 2018, pp. 212-214; Bianchi, 2018, pp. 193-194). The movement also drew inspiration from earlier urban struggles in Barcelona, such as the fight to preserve public spaces like Plaça de Catalunya during 15M. Figure A5: Triumphal entry and celebrations in Can Batlló on June 12th 2011, (Can Batlló). Activists adapted the participatory governance models championed by these movements, using them to organize projects that addressed immediate community needs. Can Batlló quickly evolved into a self-managed public space. The community established a cultural center (Bloc 11), urban gardens, workshops, and cooperatives. These projects embodied principles of solidarity and a commitment to social return, addressing the longstanding absence of public amenities in the area. Over time, the initiative expanded to include cooperative housing (e.g., La Borda), a social economy incubator (Coopolis), and a cooperative school. These developments highlighted the community’s ability to not only reclaim but also sustain and innovate within the reclaimed space (Can Batlló Platform, 2011, pp. 109-112; Bianchi, 2018, pp. 195-198). 6 Figure A6: La Col Restoring Can Batlló, (Quaderns). Transformative Impact The Can Batlló movement significantly reshaped both the site and its surrounding community. Physically, the once-abandoned industrial complex was revitalized into a thriving hub of cultural, social, and economic activity. The urban gardens provided green spaces in a densely populated area, while workshops and cooperative initiatives created opportunities for skills development and economic empowerment. Socially, the movement galvanized the local population, fostering a sense of pride and ownership. The participatory model of governance strengthened networks of solidarity and inspired similar initiatives across Barcelona. Under the left-wing Barcelona en Comú government, elected in 2015, Can Batlló received institutional recognition and support, further bolstering its sustainability while maintaining its autonomy (Blanco and Nel·lo, 2018, pp. 215-217; Bianchi, 2018, pp. 199-200). 7 24 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN Figure A7: Location of Can Batlló Urban Commons, (Bianchi, I., 2018). Conclusion The Can Batlló citizen movement demonstrates the transformative potential of grassroots activism in reclaiming urban spaces. From its origins as an industrial hub to its rebirth as a self-managed community project, Can Batlló’s story reflects broader struggles for urban commons in the face of neoliberal urban policies. By prioritizing solidarity, participatory governance, and community-driven innovation, the movement has not only revitalized a neglected site but also reshaped the social fabric of La Bordeta. Can Batlló serves as a model for reclaiming urban spaces and exemplifies the enduring power of collective action in shaping cities for the people (Bianchi, 2018, pp. 201-203). 8 25 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN Figure A7: Location of Can Batlló Urban Commons, (Bianchi, I., 2018). Conclusion The Can Batlló citizen movement demonstrates the transformative potential of grassroots activism in reclaiming urban spaces. From its origins as an industrial hub to its rebirth as a self-managed community project, Can Batlló’s story reflects broader struggles for urban commons in the face of neoliberal urban policies. By prioritizing solidarity, participatory governance, and community-driven innovation, the movement has not only revitalized a neglected site but also reshaped the social fabric of La Bordeta. Can Batlló serves as a model for reclaiming urban spaces and exemplifies the enduring power of collective action in shaping cities for the people (Bianchi, 2018, pp. 201-203). 8 Figure A8: Diagram of Can Batlló’s projects and spheres of action, (Can Batlló). The citizen movement at Can Batlló and the subsequent creation of La Borda represent a powerful reimagining of urban spaces. By emphasizing community ownership, sustainability, and inclusion, these initiatives challenge conventional urban development paradigms and underscore the principle that cities belong to their residents. The socio-economic conditions in Barcelona, including the housing crisis, urban neglect, and grassroots solidarity, played a critical role in fostering these transformative projects. As global cities face increasing pressures from gentrification and privatization, the lessons from Can Batlló remain a vital blueprint for equitable urban futures. 9 32 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN Historically, home life has been gendered, with women often assigned to roles such as providing care in the form of cooking, cleaning, organizing, etc. The division of labor in the household continues to shape the way housing is designed and also inhabited. “The home has been, and continues to be, a space historically associated with women and the feminine. The division of domestic labor by gender continues to structure our societies. Although in recent years women have made inroads into the public space, doing jobs that were unthinkable years ago, housework is still their responsibility” (LACOL, at al. 2020, p.75).This reflects in traditional housing designs, which often assume that women will bear the brunt of household chores and caregiving responsibilities. Many conventional housing models, even today, continue to perpetuate these gendered spaces, with kitchens, laundries and service areas designed to serve the needs of a single caretaker, usually a woman. The housing design usually reproduces these patterns positioning these spaces in a second place of importance, not permitting the access and possibility to be reached for all members of the family: As explained by LACOL, et al. 2020, p.75: “The current concept of housing was designed for a model family, created according to the idealized image of the bourgeois family that relegates women to the interior, confusing intimacy, interior and family. The majority of housing projects repeat this scheme uncritically, reproducing patterns in a space that is never neutral. On the other hand, the rationalization of spaces, typical of traditional housing, promotes that care related to food, hygiene or health be carried out by a single person, often invisibly.” (translated from LACOL, et al. 2020, p.75) Cooperative housing, in contrast, offers a potential shift in this way of thinking and living. Many cooperative housing projects have taken a step towards "socializing" this “traditionally invisible and feminized labor”, such as caregiving, cooking, and cleaning. La Borda is a perfect example, integrating and bringing these functions into the communal life of the project, as a cooperative working together with architects to design spaces that promote a shared responsibility for care in these ways. The architecture on its own helps to break the quiet tradition of gender roles that have placed women in the private sphere, facilitating a more equitable distribution of domestic labor across all genders in a community and the society. “La Borda defines itself as a feminist project, putting emphasis on care tasks and designing its homes according to criteria of non-hierarchical distribution of spaces. Food is also an issue widely addressed by communities. Eating is a basic need for individuals and societies. For this reason, activities related to the supply, production, distribution and consumption of food are so relevant. Its central nature makes it one of the most versatile and expressive human activities: it generates conflicts, allows reciprocity and exchange, is basic in the establishment and maintenance of sociability, manifests ways of understanding the world and incorporates a great power of symbolic evocation. It is not surprising that it has been a central issue for housing cooperatives, which have addressed it with diverse results” (LACOL, et al. 2020, p.75). 16 33 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN Historically, home life has been gendered, with women often assigned to roles such as providing care in the form of cooking, cleaning, organizing, etc. The division of labor in the household continues to shape the way housing is designed and also inhabited. “The home has been, and continues to be, a space historically associated with women and the feminine. The division of domestic labor by gender continues to structure our societies. Although in recent years women have made inroads into the public space, doing jobs that were unthinkable years ago, housework is still their responsibility” (LACOL, at al. 2020, p.75).This reflects in traditional housing designs, which often assume that women will bear the brunt of household chores and caregiving responsibilities. Many conventional housing models, even today, continue to perpetuate these gendered spaces, with kitchens, laundries and service areas designed to serve the needs of a single caretaker, usually a woman. The housing design usually reproduces these patterns positioning these spaces in a second place of importance, not permitting the access and possibility to be reached for all members of the family: As explained by LACOL, et al. 2020, p.75: “The current concept of housing was designed for a model family, created according to the idealized image of the bourgeois family that relegates women to the interior, confusing intimacy, interior and family. The majority of housing projects repeat this scheme uncritically, reproducing patterns in a space that is never neutral. On the other hand, the rationalization of spaces, typical of traditional housing, promotes that care related to food, hygiene or health be carried out by a single person, often invisibly.” (translated from LACOL, et al. 2020, p.75) Cooperative housing, in contrast, offers a potential shift in this way of thinking and living. Many cooperative housing projects have taken a step towards "socializing" this “traditionally invisible and feminized labor”, such as caregiving, cooking, and cleaning. La Borda is a perfect example, integrating and bringing these functions into the communal life of the project, as a cooperative working together with architects to design spaces that promote a shared responsibility for care in these ways. The architecture on its own helps to break the quiet tradition of gender roles that have placed women in the private sphere, facilitating a more equitable distribution of domestic labor across all genders in a community and the society. “La Borda defines itself as a feminist project, putting emphasis on care tasks and designing its homes according to criteria of non-hierarchical distribution of spaces. Food is also an issue widely addressed by communities. Eating is a basic need for individuals and societies. For this reason, activities related to the supply, production, distribution and consumption of food are so relevant. Its central nature makes it one of the most versatile and expressive human activities: it generates conflicts, allows reciprocity and exchange, is basic in the establishment and maintenance of sociability, manifests ways of understanding the world and incorporates a great power of symbolic evocation. It is not surprising that it has been a central issue for housing cooperatives, which have addressed it with diverse results” (LACOL, et al. 2020, p.75). 16 Vulnerable population Moreover, some cooperatives, like La Morada in Barcelona (2018), specifically design their spaces to cater to the needs of lesbians, women, and transgender individuals, thereby creating safe spaces where they can live without fear of discrimination. These intentional inclusions not only empower marginalized communities but challenge gender norms also by providing a platform for them to voice their concerns and needs within the cooperative structure. “Another project worth mentioning is La Morada. This is a project generated by a group of lesbians, transsexuals and women from the LGBTQ+ community. Therefore, apart from developing a collective home, they are also giving a voice to this part of the community”(GARCÍA, 2023, p. 29). Cooperative housing shows the potential to be more inclusive with other vulnerable groups, such as immigrants, seniors, and LGBTQ+ individuals. LACOL et al. (2020) mentions the concept of "inclusive cooperatives" and brings as an example Cooperative Housing in Quebec, Canada, which are designed specifically to integrate people with social difficulties, functional special needs, and immigrants. “In Quebec, there are so-called “inclusive cooperatives” that seek to integrate people with social difficulties, disabilities, migrants or those in need of care. The homes are equipped and adapted to their needs and living together allows for mutual help. In these cooperatives, immigrants who settle in learn the language and culture more quickly, as they have more opportunities to interact with locals”(LACOL, et al. 2020, p.43). These cooperatives offer adapted design housing units and create a space in which mutual support among residents is promoted, these common spaces also allow immigrants to integrate into the community more easily by providing opportunities for cultural exposure, life exchange, and language learning. The inclusion of immigrants in cooperative housing can change traditional housing in which individualism and non-integration are seen by the lack of contact, and any spaces where a conversation can be initiated. These often-marginalized foreign-born individuals are given a space, fostering an environment of solidarity and mutual aid. “Cooperative projects allow for the development of spaces for relationships between the individual, the core of coexistence, the community and society […] Community, the result of physical and social proximity, is the definition of belonging to a place. In the creation of this identity, superficial ties (such as small talk on the stairs) are of great importance. These exchanges are enough to generate a feeling of integration and of feeling at home”(LACOL, et al. 2020, p.72). 17 34 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN Figure C3: La Morada, Feminist and LGBTQ+ cooperative housing in Barcelona. The same principles apply to the inclusion of diverse individuals in cooperative housing projects. Historically, LGBTQ+ people have faced discrimination in mainstream housing markets, particularly in communities where heteronormative values are dominant. However, as seen in the emergence of projects like La Morada, which as its name represents, cooperative housing can serve as a safe place for individuals who may not feel welcome in conventional housing settings. These kinds of projects also allow non-traditional family structures, further breaking down society barriers that often marginalized LGBTQ+ individuals. “When looking at the composition of cohabitation units, there is an increase in people who live alone or who live in groups without family ties, couples with children from previous relationships, etc., moving away from the heteronormative family scheme. For this reason, in cooperatives, instead of “families” we normally speak of “cohabitation units” or “living units” (LACOL, 2020, p. 76). 18 35 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN Figure C3: La Morada, Feminist and LGBTQ+ cooperative housing in Barcelona. The same principles apply to the inclusion of diverse individuals in cooperative housing projects. Historically, LGBTQ+ people have faced discrimination in mainstream housing markets, particularly in communities where heteronormative values are dominant. However, as seen in the emergence of projects like La Morada, which as its name represents, cooperative housing can serve as a safe place for individuals who may not feel welcome in conventional housing settings. These kinds of projects also allow non-traditional family structures, further breaking down society barriers that often marginalized LGBTQ+ individuals. “When looking at the composition of cohabitation units, there is an increase in people who live alone or who live in groups without family ties, couples with children from previous relationships, etc., moving away from the heteronormative family scheme. For this reason, in cooperatives, instead of “families” we normally speak of “cohabitation units” or “living units” (LACOL, 2020, p. 76). 18 Figure C4: La Morada, common areas, rendered image of cooperative housing in Barcelona. Furthermore, cooperative housing can be an important model for the elderly, particularly LGBTQ+ seniors, who struggle with additional difficulties in traditional housing systems. Older LGBTQ+, in many cases, face rejection from their own families and care, love and sense of belonging is denied. Cooperative housing gives a supportive environment where seniors can live along with people of different ages and backgrounds giving access to a community that values diversity and inclusion. The inclusive cohousing projects in cities like London and San Francisco are examples of how these communities can benefit from collaborative living models that prioritize inclusivity, care, and shared responsibility. These people can find a shelter in cases where they discover themselves as LGBTQ+ in an age where their own reject them and find alone without a supporting group for them (Czischke, 2023, p. 48). 19 36 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN Figure C5: La Borda, Lacol Project. Common kitchen area. Cooperative housing in Barcelona. In some cooperatives, there is an effort to create an intergenerational living environment. Elderly individuals, people with disabilities, and nontraditional families can take advantage of mutual aid. (LACOL, et al. 2020) For example, The House of Rebels, a cooperative in Quebec where the average age is 55, yet when housing becomes available young families are given priority which allows benefits such as shared caregiving responsibilities and the transfer of knowledge across age groups. In this way an "intergenerational project" can be ensured. Aiming an intergenerational living in these cooperatives not only provides conjoint care between the inhabitants but also reduces the risks associated with isolation on the older population. Seniors in these communities have the chance to interact with younger generations, receive help with daily tasks and share experiences. Similarly, younger individuals can benefit from the wisdom, guidance and support of older community members. Designing spaces that encourage interaction across generations can promote inclusivity and reduce social isolation. (LACOL, 2020, p. 42). One of the bases of cooperative housing is its emphasis on collective decision-making. Architects play a pivotal role in designing spaces but this is achieved through the participation of the individuals of the cooperative, which gather with the architects to discuss and participate in the design process. In LACOL (et al. 2020), the concept of "asamblearismo” (assemblyism) is discussed, where decision-making is done collectively, with a focus on empathy, communication, and mutual care. Projects like La Borda in Can Batlló are an example, as discussed in the first chapter of this article, on how the history of fighting for rights and struggles can bring a group of people together and transform the way of living of a neighborhood and be an example for a whole city. Organization and knowing how to communicate their needs as a collective is vital to work with designers to materialize and reflect their ideas in the project (LACOL, 2020, p. 37). 20 37 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN Figure C5: La Borda, Lacol Project. Common kitchen area. Cooperative housing in Barcelona. In some cooperatives, there is an effort to create an intergenerational living environment. Elderly individuals, people with disabilities, and nontraditional families can take advantage of mutual aid. (LACOL, et al. 2020) For example, The House of Rebels, a cooperative in Quebec where the average age is 55, yet when housing becomes available young families are given priority which allows benefits such as shared caregiving responsibilities and the transfer of knowledge across age groups. In this way an "intergenerational project" can be ensured. Aiming an intergenerational living in these cooperatives not only provides conjoint care between the inhabitants but also reduces the risks associated with isolation on the older population. Seniors in these communities have the chance to interact with younger generations, receive help with daily tasks and share experiences. Similarly, younger individuals can benefit from the wisdom, guidance and support of older community members. Designing spaces that encourage interaction across generations can promote inclusivity and reduce social isolation. (LACOL, 2020, p. 42). One of the bases of cooperative housing is its emphasis on collective decision-making. Architects play a pivotal role in designing spaces but this is achieved through the participation of the individuals of the cooperative, which gather with the architects to discuss and participate in the design process. In LACOL (et al. 2020), the concept of "asamblearismo” (assemblyism) is discussed, where decision-making is done collectively, with a focus on empathy, communication, and mutual care. Projects like La Borda in Can Batlló are an example, as discussed in the first chapter of this article, on how the history of fighting for rights and struggles can bring a group of people together and transform the way of living of a neighborhood and be an example for a whole city. Organization and knowing how to communicate their needs as a collective is vital to work with designers to materialize and reflect their ideas in the project (LACOL, 2020, p. 37). 20 “The examples cited here arose in contact with other movements. In Uruguay, a large number of cooperatives were born linked to unions, so there was an organizational and debate culture thanks to a very important previous experience of organization and struggle. It will also be shown later how these projects have emerged from (or have provided coverage for) struggles for the defense of the environment, the reception of refugees or feminist movements”. (LACOL, at al. 2020, p.20). Organization, debates, and collective decision making will not only be present before the process of designing the cooperative housing but also during the whole life of these buildings. That is where the importance of common spaces such as shared kitchens, dining rooms, and meeting areas, not only serve functional purposes but also act as spaces where social interaction, community life and collective decision-making can take place. The spaces for community activities are designed in a way that are induced to be used but not the only option (LACOL, et. al, 2020); having a communal dining room or kitchen does not necessarily mean that all meals must be shared and that everyone has to cook in the same kitchen. This flexibility allows residents to engage with the community as much or as little as they wish, reducing the pressure to conform to a rigid set of communal norms (LACOL, 2020, p. 72). For example, La Borda, encourages and offers the use of an open and shared kitchen, with enough space for a life in community, but also, in each unit, can be found a cooking space, the idea here is to reduce the space of a normal kitchen inside the units and transforming these spaces into common use spaces which gives the chance to add more to the private spaces, like the bedrooms. In LACOL, et al. 2020 is explained the importance of food, cooking, and the “act of eating’’ for a community: “... Food is an issue that is widely addressed by communities. Eating is a basic need for individuals and societies. For this reason, activities related to the supply, production, distribution and consumption of food are so relevant. Its central nature makes it one of the most versatile and expressive human activities: it generates conflicts, allows reciprocity and exchange, is basic in the establishment and maintenance of sociability, manifests ways of understanding the world and incorporates a great power of symbolic evocation. It is not surprising that it has been a central issue for housing cooperatives, which have addressed it with varying results.” (LACOL, at al. 2020, p.75). 21 38 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN Figure C6: La Borda, Lacol project. Unit flexible floor plan. As explained throughout this chapter, examples in the international and national references, the physical place and social environments of cooperative housing can be shaped purposely to reflect and support diverse needs and help contemporary societies thrive. La Borda is an example of cooperative self-design, community molding spaces, inter-family caring, and a feeling of belonging. La Morada in Roquetes, Barcelona shows a specific example of LGBTQ+ organization, fight for rights, self-respect and mutual help of an often-discriminated community. In doing so, cooperative housing can become not only a model for sustainable living but also a powerful tool for promoting equality, mutual respect, and inclusion for all. 22 39 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN Figure C6: La Borda, Lacol project. Unit flexible floor plan. As explained throughout this chapter, examples in the international and national references, the physical place and social environments of cooperative housing can be shaped purposely to reflect and support diverse needs and help contemporary societies thrive. La Borda is an example of cooperative self-design, community molding spaces, inter-family caring, and a feeling of belonging. La Morada in Roquetes, Barcelona shows a specific example of LGBTQ+ organization, fight for rights, self-respect and mutual help of an often-discriminated community. In doing so, cooperative housing can become not only a model for sustainable living but also a powerful tool for promoting equality, mutual respect, and inclusion for all. 22 COLLECTIVE SPACES One of the unique architectural approaches of La Borda are the collective spaces and their central role in shaping community life and promoting collective living. This chapter is putting a focus on these spaces in regard to their relation to the following three key points: the social connectivity and interaction between the residents, the flexibility and adaptability to different uses and changing circumstances and the contribution to the environmental sustainability of the whole project. These aspects enable the inhabitants to cooperate in decision making processes and showcase the impact of collective spaces for their everyday lives, leading to a successful international recognition of La Borda as a model for cooperative housing projects. Social connectivity and interaction The main collective space of La Borda is understood as a center communal courtyard on the ground floor through which one would enter the building; large spaces on the different levels are generated around it and connected by corridors in front of the 28 private dwellings, functioning as an extension of these towards the common space (Fig. D1). This layout can be seen as a reference to historical typologies of collective housing in Spain such as the ‘corralas’ in Madrid (Reboredo Raposo and Casado Buesa, 2023, p.72). Common areas include a communal kitchen, dining room, laundry facilities, workshops, and rooftop gardens. These spaces are more than just amenities, they create settings for cooperative activities, meetings, and events, fostering a strong community spirit among residents, encouraging social engagement and reducing isolation (Fig. D2). For their creation, part of the individual dwelling is ceded to the collective space, understanding these areas as part of their dwelling. By placing those spaces in areas of full visibility, everyone in the community is invited to enter and participate in their use. These collective spaces within the building can be understood as an intermediate space, a transition between the completely private (the individual dwelling) and the completely public (the city). As the co-operative members themselves decide on each space in the building, they also choose the level of privacy of these spaces, which allows them to open up to the city. In the case of La Borda, this connection is established through an ecological consumer cooperative on the ground floor facing the street and the strategic placement of the community kitchen between the courtyard and the back of the building, facing the newly built park that is currently under construction. In setting, the usages with the highest grade of publicity along the passageway underneath the building, connecting the street with the public area behind it, the aim to maintain the relationship between residents and the neighborhood is visible. Those common spaces give a meaning to collective housing in the sense of living in a community, they allow for the main idea of the project to be developed. In the shared spaces, the sense of community, belonging to the group, is built (García Luján, 2023, p. 23-25). 23 40 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN Flexibility and adaptability The design of La Borda’s communal spaces allows them to adapt to changing needs over time. This adaptability enables residents to reconfigure spaces based on evolving community requirements, whether for gatherings, child care, or workspace. This approach also fosters a sense of ownership and responsibility, as residents are encouraged to take part in the maintenance and evolution of these spaces. A prime example for the flexible use of the communal spaces can be seen in them becoming a meeting space for Can Batllo’s neighborhood movement (Cabré and Andres, 2018, p. 424), creating a direct link to the beginnings of the project described in the first chapter of this article. It is achieved by prioritizing common space over private dwelling space. The smaller private spaces make room for larger, well-equipped communal areas (Fig. D4). This layout reduces the demand for individual amenities within each apartment, leading to more efficient resource use. For instance, the communal kitchen allows residents to gather for shared meals, reducing the need for fully equipped private kitchens. Similarly, the laundry and workshop areas reduce the necessity for each household to own individual appliances or tools. This reduction of usage in the private spaces enables the architecture to react to different needs of their inhabitants which can be seen in the plan drawings (Fig. D3) and as described below. The dwellings or cohabitation units define the structural framework of the building from its initial module of 16m² and whose addition produces the different possible typologies of the project. Initially there are three variations according to the size of each unit with 40, 60 and 75m² of surface each. All of them share with the smallest option a common core formed by the wet areas, bathroom and kitchen (Fig. D5), and two minimum modules of 16m², called residential, as they are interchangeable with other uses e.g. a living room, study or office. In addition, all the units share their respective collective spaces to a certain extent with the common access galleries. The 60 and 75m² options are formed by adding one or two of the 24 41 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN Flexibility and adaptability The design of La Borda’s communal spaces allows them to adapt to changing needs over time. This adaptability enables residents to reconfigure spaces based on evolving community requirements, whether for gatherings, child care, or workspace. This approach also fosters a sense of ownership and responsibility, as residents are encouraged to take part in the maintenance and evolution of these spaces. A prime example for the flexible use of the communal spaces can be seen in them becoming a meeting space for Can Batllo’s neighborhood movement (Cabré and Andres, 2018, p. 424), creating a direct link to the beginnings of the project described in the first chapter of this article. It is achieved by prioritizing common space over private dwelling space. The smaller private spaces make room for larger, well-equipped communal areas (Fig. D4). This layout reduces the demand for individual amenities within each apartment, leading to more efficient resource use. For instance, the communal kitchen allows residents to gather for shared meals, reducing the need for fully equipped private kitchens. Similarly, the laundry and workshop areas reduce the necessity for each household to own individual appliances or tools. This reduction of usage in the private spaces enables the architecture to react to different needs of their inhabitants which can be seen in the plan drawings (Fig. D3) and as described below. The dwellings or cohabitation units define the structural framework of the building from its initial module of 16m² and whose addition produces the different possible typologies of the project. Initially there are three variations according to the size of each unit with 40, 60 and 75m² of surface each. All of them share with the smallest option a common core formed by the wet areas, bathroom and kitchen (Fig. D5), and two minimum modules of 16m², called residential, as they are interchangeable with other uses e.g. a living room, study or office. In addition, all the units share their respective collective spaces to a certain extent with the common access galleries. The 60 and 75m² options are formed by adding one or two of the 24 housing modules to the smaller typology, taken from the adjacent dwellings, which can then be returned or exchanged. The initial approach to the project has been based on distributing the different typologies in the most varied way possible throughout the entire building (Fig. D6). That allows for a certain diversity of units and their degree of occupancy on each floor (Reboredo Raposo and Casado Buesa, 2023, p.70-73). 25 48 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 CORRALES, Joseph, EHLERS, Noah, EHRMAN, Samantha and SCHWABE, Calvin APRÈN Figure C5: La Borda Coop Website. [Accessed: 2 December 2024]. Available at: http://www.laborda.coop/es/proyecto/vida-en-comun Figure C6: MONTANER, Josep María. La arquitectura de La Borda: contexto, gestión y forma. Summa+ Magazine. Number 176. Vivir en la Ciudad. Argentina, 2020. ISSN 0327-9022. [Accessed: 7 November 2024] Available on https://www.lacol.coop/wp-content/uploads/2020/03/S176_Lacol_La-Borda.pdf Figure D1: MIRALLES, Lluc. La Borda central courtyard [photography] [Accessed: 15. Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D2: MIRALLES, Lluc. La Borda community space [photography] [Accessed: 15. Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D3: LACOL. La Borda Habitatge Cooperatiu - First floor [plan drawing] [Accessed: 15. Dezember 2024]. Available at: https://www.lacol.coop/projectes/laborda/ Figure D4: MIRALLES, Lluc. La Borda courtyard and community space [photography] [Accessed: 15.Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D5: MIRALLES, Lluc. La Borda interior view of a dwelling unit [photography] [Accessed: 15. Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D6: LACOL. Different dwelling modules and their combination to the S, M and L typologies [drawing] [Accessed: 15. Dezember 2024]. Available at: https://www.lacol.coop/projectes/laborda/ Figure D7: MIRALLES, Lluc. La Borda central courtyard and roof structure [photography] [Accessed: 15. Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D8: LACOL. Courtyard ventilation principle of La Borda [schematic drawing] [Accessed: 15. Dezember 2024]. Available at: https://www.arquitecturacatalana.cat/en/works/cooperativa-dhabitatges-la-borda 32 49 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From crisis to community: La Borda’s vision for collective and affordable housing APRÈN Figure C5: La Borda Coop Website. [Accessed: 2 December 2024]. Available at: http://www.laborda.coop/es/proyecto/vida-en-comun Figure C6: MONTANER, Josep María. La arquitectura de La Borda: contexto, gestión y forma. Summa+ Magazine. Number 176. Vivir en la Ciudad. Argentina, 2020. ISSN 0327-9022. [Accessed: 7 November 2024] Available on https://www.lacol.coop/wp-content/uploads/2020/03/S176_Lacol_La-Borda.pdf Figure D1: MIRALLES, Lluc. La Borda central courtyard [photography] [Accessed: 15. Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D2: MIRALLES, Lluc. La Borda community space [photography] [Accessed: 15. Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D3: LACOL. La Borda Habitatge Cooperatiu - First floor [plan drawing] [Accessed: 15. Dezember 2024]. Available at: https://www.lacol.coop/projectes/laborda/ Figure D4: MIRALLES, Lluc. La Borda courtyard and community space [photography] [Accessed: 15.Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D5: MIRALLES, Lluc. La Borda interior view of a dwelling unit [photography] [Accessed: 15. Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D6: LACOL. Different dwelling modules and their combination to the S, M and L typologies [drawing] [Accessed: 15. Dezember 2024]. Available at: https://www.lacol.coop/projectes/laborda/ Figure D7: MIRALLES, Lluc. La Borda central courtyard and roof structure [photography] [Accessed: 15. Dezember 2024]. Available at: https://llucmiralles.com/filter/photography/Cooperativa-d-habitatge-La-Borda-LaCol Figure D8: LACOL. Courtyard ventilation principle of La Borda [schematic drawing] [Accessed: 15. Dezember 2024]. Available at: https://www.arquitecturacatalana.cat/en/works/cooperativa-dhabitatges-la-borda 32 50 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN From Textile Factory to Social Housing: Fabra i Coats, the Challenge of Contemporary Urban Integration From industrial legacy to new community uses: a balance between history and urban modernity. Abstract This article explores the history and context of the refurbishment of Fabra i Coats factory in Barcelona (Roldán + Berengué architects, 2019) through the balance between preserving historical identity and promoting social integration, highlighting how the transformation of industrial heritage can enhance urban resilience, cultural vitality, and sustainable development. It examines how this transformation offers a sustainable solution, balancing historical preservation with contemporary urban needs, raising questions about the role of common spaces in fostering social integration, and exploring how reversibility in design ensures adaptability to changing needs. By reflecting on the successes and challenges of the Fabra i Coats project, this study aims to offer valuable insights into the wider implications of rehabilitating industrial heritage in today's urban environments, addressing topics like the creation of social housing, the promotion of inclusivity, and the social impact these projects can have on the community. Keywords - Historical heritage - Social housing - Reversibility - Changing stages and permanence - Sustainability Anastasia Merz, Carla Matello, Federico Vialey, Rebecca Menchini, Zografia Zaraveli 51 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN From Textile Factory to Social Housing: Fabra i Coats, the Challenge of Contemporary Urban Integration From industrial legacy to new community uses: a balance between history and urban modernity. Abstract This article explores the history and context of the refurbishment of Fabra i Coats factory in Barcelona (Roldán + Berengué architects, 2019) through the balance between preserving historical identity and promoting social integration, highlighting how the transformation of industrial heritage can enhance urban resilience, cultural vitality, and sustainable development. It examines how this transformation offers a sustainable solution, balancing historical preservation with contemporary urban needs, raising questions about the role of common spaces in fostering social integration, and exploring how reversibility in design ensures adaptability to changing needs. By reflecting on the successes and challenges of the Fabra i Coats project, this study aims to offer valuable insights into the wider implications of rehabilitating industrial heritage in today's urban environments, addressing topics like the creation of social housing, the promotion of inclusivity, and the social impact these projects can have on the community. Keywords - Historical heritage - Social housing - Reversibility - Changing stages and permanence - Sustainability Anastasia Merz, Carla Matello, Federico Vialey, Rebecca Menchini, Zografia Zaraveli One of the ways to explore new areas of architectural heritage can be through the rehabilitation and reuse of former industrial complexes, such as Fabra i Coats (1910-1920) in Barcelona, which opened its doors in 2012 offering a unique opportunity to consider rethinking its relationship with our contemporary urban needs. This former textile factory (1903-2005), that has played an important role in the city for such a long time, turned into a cultural and social hub with some of its history maintained around new uses. However, this process raises a question of how we can serve both historical memory and the shared realities of changing experiences in diverse urban life? (FDC, 2017) The idea of rehabilitation is much more than just the physical restoration of a building. This involves reassessing the building to repurpose and reshape it to update contemporary requirements through co-living, coworking, and culture. These common functions offer novel answers for issues such as urban density or access. However, they also create an inquiry about the authentic inclusiveness of these places and their effect on the local populations. The Fabra i Coats building could be a paradigmatic case for checking these questions. Will these common spaces be adopted as effective mechanisms for social integration, or will we produce restored spaces that have little to do with the real city? To address these questions, it is crucial to consider the delicate balance between preserving the building’s historical essence and adapting it to contemporary urban dynamics. Rehabilitation projects like Fabra i Coats must navigate multiple challenges: creating spaces that respond to social needs, ensuring accessibility for diverse groups, and embedding sustainability into their transformation. At the same time, these projects should remain flexible enough to allow for future changes, reflecting the concept of reversibility in design. Only by integrating these principles can such spaces become authentic contributors to the evolving fabric of the city, rather than isolated monuments to the past. HISTORICAL HERITAGE In the 1970s, an interest in the valorization of industrial heritage began to emerge and was recognized as a new category of common good. The ‘Nara Document 1994’ states that industrial heritage is recognized as a new category within cultural heritage. It emphasizes the importance of conserving and valuing sites and objects related to industrial history, highlighting their cultural and social relevance. In this sense, it led to increased public awareness, developing a greater understanding of the values represented by the cultural assets themselves, as well as the role that 52 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN such monuments and sites play in contemporary society. From there, inventories were created and policies for the conservation, preservation, and rehabilitation of this heritage were implemented, initially considering them as individual objects and, over time, as ensembles. Industrial heritage represents a vestige of humanity's collective memory (NARA 1994). The traces of the industrial revolution have been transformed into new cultural assets and resources to promote sustainable development at local and regional level. We can see these processes in projects such as the British National Museum of Modern Art (London, 2000, Herzog & de Meuron), Radial System, (Berlin, 2006, Jürgen Mayer H.), Usina del Arte (Buenos Aires, 2007, Bettina Kropf), among others. In this sense, all material remains are included, regardless of their state of preservation, which reflects the material culture of the capitalist industrial society generated throughout history by human productive and extractive activities. Industrial heritage can therefore be seen as a testimony of everyday life and a memory of work and place. This heritage may be active, at risk of disappearing, or it may be an extinct asset, no longer in use, or a ruin forming part of a forgotten landscape. We could say that industrial heritage cannot be conserved, interpreted, and valued without a defense strategy that takes into account the context that shapes and surrounds it. In this sense, Fabra i Coats can serve as an example to explore these issues. It is a fundamental part of the Sant Andreu neighborhood and a key point for understanding its history. The creation of the factory became a clear symbol of the transition from an agricultural society to an industrial one. In 1911, Fabra i Coats established itself as Sant Andreu's first industrial contributor and one of the main ones in the city of Barcelona, a textile factory with a total of 1,500 workers (FdC 2017). 53 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN such monuments and sites play in contemporary society. From there, inventories were created and policies for the conservation, preservation, and rehabilitation of this heritage were implemented, initially considering them as individual objects and, over time, as ensembles. Industrial heritage represents a vestige of humanity's collective memory (NARA 1994). The traces of the industrial revolution have been transformed into new cultural assets and resources to promote sustainable development at local and regional level. We can see these processes in projects such as the British National Museum of Modern Art (London, 2000, Herzog & de Meuron), Radial System, (Berlin, 2006, Jürgen Mayer H.), Usina del Arte (Buenos Aires, 2007, Bettina Kropf), among others. In this sense, all material remains are included, regardless of their state of preservation, which reflects the material culture of the capitalist industrial society generated throughout history by human productive and extractive activities. Industrial heritage can therefore be seen as a testimony of everyday life and a memory of work and place. This heritage may be active, at risk of disappearing, or it may be an extinct asset, no longer in use, or a ruin forming part of a forgotten landscape. We could say that industrial heritage cannot be conserved, interpreted, and valued without a defense strategy that takes into account the context that shapes and surrounds it. In this sense, Fabra i Coats can serve as an example to explore these issues. It is a fundamental part of the Sant Andreu neighborhood and a key point for understanding its history. The creation of the factory became a clear symbol of the transition from an agricultural society to an industrial one. In 1911, Fabra i Coats established itself as Sant Andreu's first industrial contributor and one of the main ones in the city of Barcelona, a textile factory with a total of 1,500 workers (FdC 2017). Fig. 1: AUTHOR UNKNOWN , Exit of the staff of the Gran de St. Andreu street, ca. 1950 Moreover, in addition to being an engine of development for the city, the factory introduced a large number of labour advantages that had not yet been implemented in Spain. Fabra y Coats had cottages in the 1920s, working hours of 50/55 hours in 1913 when the norm was 60/65, a Montepío for assistance to the sick and widows, pensions from 1925, and always leisure, cultural and sporting activities, as well as facilities for access to the purchase of their own home for their employees (CF 2003). However, these ‘labour advantages’ should not be seen as the simple result of good business operations, but of a worker's and neighbours movement of collective struggle to acquire these rights. In this context, the sum of labour rights granted to Fabra y Coats employees is linked to the origins of mutualism in Spain during the 19th century, a period characterized by industrialization and significant social changes. 54 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN It emerged as a response to the needs of workers, who sought protection and support in the face of job insecurity and lack of rights. The first mutual societies were formed around 1840, promoting solidarity among their members through the creation of funds to cover illness, accidents, and pensions (Marín 2006, 35-54). In recent decades, mutuality has experienced a resurgence, adapting to the new realities of the world of work and society. Today, mutual societies continue to play an important role in social protection, although they face challenges such as competition with larger social security systems and the need for modernization. The history of Fabra i Coats is extensive, but this article focuses on the social processes and impacts it had and continues to have on the community of Sant Andreu. The Collective Fight for Fabra i Coats The community of Sant Andreu recognized the historical and cultural importance of Fabra i Coats and its potential as a space that would benefit local society. Neighbours and different collectives organized themselves to advocate for the recovery of the site, holding meetings, assemblies, and activities to raise awareness of the need to revitalize it. Reclaiming the old site not only means having 6,500 m² of new space for integration but also involves a collective desire and a struggle that contributes to generating community. In this sense, on a city scale, the recovery of these spaces is part of a broader programme of ‘creation factories’, cultural facilities owned and managed by the city itself, on a shared or public basis, as the case may be. It is a programme to use industrial buildings to host artistic processes. Since the mid-2000s, the functional programme Barcelona Factories of Creation, promoted by Barcelona City Council and managed directly by the Barcelona Institute of Culture, aims to encourage greater involvement and participation of citizens, and of neighbours in particular, in the artistic and creative sphere. They are no longer considered mere spectators or consumers, but active agents who participate at different levels (FdC 2017). 55 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN It emerged as a response to the needs of workers, who sought protection and support in the face of job insecurity and lack of rights. The first mutual societies were formed around 1840, promoting solidarity among their members through the creation of funds to cover illness, accidents, and pensions (Marín 2006, 35-54). In recent decades, mutuality has experienced a resurgence, adapting to the new realities of the world of work and society. Today, mutual societies continue to play an important role in social protection, although they face challenges such as competition with larger social security systems and the need for modernization. The history of Fabra i Coats is extensive, but this article focuses on the social processes and impacts it had and continues to have on the community of Sant Andreu. The Collective Fight for Fabra i Coats The community of Sant Andreu recognized the historical and cultural importance of Fabra i Coats and its potential as a space that would benefit local society. Neighbours and different collectives organized themselves to advocate for the recovery of the site, holding meetings, assemblies, and activities to raise awareness of the need to revitalize it. Reclaiming the old site not only means having 6,500 m² of new space for integration but also involves a collective desire and a struggle that contributes to generating community. In this sense, on a city scale, the recovery of these spaces is part of a broader programme of ‘creation factories’, cultural facilities owned and managed by the city itself, on a shared or public basis, as the case may be. It is a programme to use industrial buildings to host artistic processes. Since the mid-2000s, the functional programme Barcelona Factories of Creation, promoted by Barcelona City Council and managed directly by the Barcelona Institute of Culture, aims to encourage greater involvement and participation of citizens, and of neighbours in particular, in the artistic and creative sphere. They are no longer considered mere spectators or consumers, but active agents who participate at different levels (FdC 2017). Fig. 2: FABRA I COATS , Fabra i Coats activities, 2017 Fig. 3: FABRA I COATS , Fabra i Coats activities, 2017 Fig. 4: FABRA I COATS , Fabra i Coats activities, 2017 56 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN The project is inspired by a number of international initiatives that have emerged since the late 1990s. The most obvious reference is the project revolving around Trans Europe Halles, a European network of cultural centres promoted by citizens and artists in reused former factories. Among the most relevant are the Friche la Belle de Mai in Marseille (1992), the Cable Factory in Helsinki (1991) or the ufaFabrik in Berlin (1979), among many others. In this context, through the active participation of the community, proposals were developed for the use of the space, suggesting that it become a cultural, artistic and social centre. Ideas were put forward for workshops, exhibitions, community activities, and proposals were presented seeking institutional support. On 22 December 2006 the agreement for the recovery of Fabra i Coats was signed (FdC 2017) and since then they have marked an important milestone in the process of transformation and rehabilitation for the Sant Andreu neighbourhood and the Barcelona community. In this sense, it could be said that the history of Fabra i Coats and the recovery of the factory is a significant example of how industrial history and collective memory can influence the social and cultural transformation of a space. Furthermore, the recovery is driven by the active participation of the community, which is in line with the values of the workers' struggle, where the voice of the workers and the community is fundamental in deciding the destinies of society. The transformation of Fabra i Coats can also be seen as a symbol of contemporary struggles for social justice, access to culture and the defence of heritage. We could say that the workers' struggle of Fabra i Coats and its recovery as a cultural centre are intrinsically connected, as both reflect the importance of community, historical memory and the search for a more just and participatory future. SOCIAL HOUSING The Fabra i Coats housing project is an example of social housing that prioritizes both flexibility and community living. It contains 41 social housing units for young people and also five temporary apartments for artists. Its design incorporates varying levels of privacy, with private rooms, smaller communal living areas and larger shared spaces, like a rooftop terrace and garden areas, encouraging interaction among residents. In general the design fosters a communal life through shared spaces, such as an open hall that acts as a central gathering point or a central courtyard, which contains a garden that not only connects residents with the outdoors but also serves as a social hub. (Facet 2012, 73-77 / Wessely and Hofmeister 2023, 237-238) 57 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN The project is inspired by a number of international initiatives that have emerged since the late 1990s. The most obvious reference is the project revolving around Trans Europe Halles, a European network of cultural centres promoted by citizens and artists in reused former factories. Among the most relevant are the Friche la Belle de Mai in Marseille (1992), the Cable Factory in Helsinki (1991) or the ufaFabrik in Berlin (1979), among many others. In this context, through the active participation of the community, proposals were developed for the use of the space, suggesting that it become a cultural, artistic and social centre. Ideas were put forward for workshops, exhibitions, community activities, and proposals were presented seeking institutional support. On 22 December 2006 the agreement for the recovery of Fabra i Coats was signed (FdC 2017) and since then they have marked an important milestone in the process of transformation and rehabilitation for the Sant Andreu neighbourhood and the Barcelona community. In this sense, it could be said that the history of Fabra i Coats and the recovery of the factory is a significant example of how industrial history and collective memory can influence the social and cultural transformation of a space. Furthermore, the recovery is driven by the active participation of the community, which is in line with the values of the workers' struggle, where the voice of the workers and the community is fundamental in deciding the destinies of society. The transformation of Fabra i Coats can also be seen as a symbol of contemporary struggles for social justice, access to culture and the defence of heritage. We could say that the workers' struggle of Fabra i Coats and its recovery as a cultural centre are intrinsically connected, as both reflect the importance of community, historical memory and the search for a more just and participatory future. SOCIAL HOUSING The Fabra i Coats housing project is an example of social housing that prioritizes both flexibility and community living. It contains 41 social housing units for young people and also five temporary apartments for artists. Its design incorporates varying levels of privacy, with private rooms, smaller communal living areas and larger shared spaces, like a rooftop terrace and garden areas, encouraging interaction among residents. In general the design fosters a communal life through shared spaces, such as an open hall that acts as a central gathering point or a central courtyard, which contains a garden that not only connects residents with the outdoors but also serves as a social hub. (Facet 2012, 73-77 / Wessely and Hofmeister 2023, 237-238) Social housing can be defined as rental housing provided by the government or nonprofit groups. The purpose of social housing is to provide affordable homes for non-acquiring social classes. Moreover, industrial heritage sites, such as the Fabra i Coats housing project, show how old buildings can be given new life while keeping the memory of past generations alive. By turning these spaces into something useful, like social housing, their value and purpose are preserved. Without such reuse, these buildings can lose their meaning and become forgotten. Fig. 5: MERZ A., Community-focused entrance area for social housing, 27th October 2024 Social housing faces many challenges. Firstly, over time, the availability of units decreases due to factors like demolition of aging buildings, privatization of social housing and insufficient construction of new units to meet demand. Secondly, some buildings face quality issues. Thirdly, high demand leads to longer waiting lists for people. (Garriga 9th September 2024) 64 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN facilities for certain groups in the population such as the youths and the elderly people”. (Peig Font 2020) “The building height corresponds to that of the existing building. The number of floors is set at Ground Floor (PB) + 3 Upper Floors (PT) + Attic. It can incorporate an external staircase structure on the facade, with construction characteristics similar to the existing structure. The number of housing units remains at 100 designated housing units, as specified in the MPGM (Metropolitan General Plan Modification) for the integration of designated housing in the area of the Fabra i Coats site. The Municipal Housing Board (PHMB) is the main promoter of protected and designated housing, as well as the primary manager of the city's public housing stock.”(Peig Font 2020). This plan was focused on the recycling of the existing building structure and managed the industrial aesthetics of the factory building. It implemented restrictions on zones and heights of the volumes and the overall footprints of new constructions to adhere to the original configuration of the factory. In addition, it described how new constructions should adjoin the retained elements of the factory while emphasizing on social housing and community spaces. The 2015 vision was more detailed and precise by Roldán + Berengué Architects. It concentrated on the conversion of one of the industrial buildings of Fabra i Coats(a large industrial hall) into residential accommodation for the young. The proposal then evolved to what could be described as a more focused, or perhaps, specific form of residential zoning in the middle of an industrial environment. “The project for 80 dwellings in a building in the former Fabra i Coats factory complex in Barcelona forms part of an urban operation to recover a 19th-century textile mill for the city and give the district of Sant Andreu over 28.000 m2 of facilities and social housing. The intervention consisted of emptying a building (100x15m) in the complex and refilling it with 80 dwellings for young people. The repetitive nature of a housing program shifts attention to the communal spaces. The stairways and halls therefore present an overall perception of the volumes by means of the use of double-height spaces arranged vertically. They also connect visually by means of diagonals from the ground-floor foyer to the roof trusses. Materials, finishes, and textures are used to identify the industrial nature of the original building.”(Peig Font 2020). The concept behind this specific vertical system provided a spatial journey, fostering interaction and communication amongst the residents of the distinct floors. The use of double volume height in the communal areas linked the different levels of the building and made use of the original industrial volume. This design strategy helps to maintain a sense of the open, expansive nature of the factory. Also maintaining the original materials of the structure of the building, its industrial aesthetic is enhanced while being used primarily as a residential building. The interior is transformed to meet modern needs, but care is taken to preserve the spatial qualities of the industrial hall, allowing residents to experience the vastness and historical significance of the space. 65 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN facilities for certain groups in the population such as the youths and the elderly people”. (Peig Font 2020) “The building height corresponds to that of the existing building. The number of floors is set at Ground Floor (PB) + 3 Upper Floors (PT) + Attic. It can incorporate an external staircase structure on the facade, with construction characteristics similar to the existing structure. The number of housing units remains at 100 designated housing units, as specified in the MPGM (Metropolitan General Plan Modification) for the integration of designated housing in the area of the Fabra i Coats site. The Municipal Housing Board (PHMB) is the main promoter of protected and designated housing, as well as the primary manager of the city's public housing stock.”(Peig Font 2020). This plan was focused on the recycling of the existing building structure and managed the industrial aesthetics of the factory building. It implemented restrictions on zones and heights of the volumes and the overall footprints of new constructions to adhere to the original configuration of the factory. In addition, it described how new constructions should adjoin the retained elements of the factory while emphasizing on social housing and community spaces. The 2015 vision was more detailed and precise by Roldán + Berengué Architects. It concentrated on the conversion of one of the industrial buildings of Fabra i Coats(a large industrial hall) into residential accommodation for the young. The proposal then evolved to what could be described as a more focused, or perhaps, specific form of residential zoning in the middle of an industrial environment. “The project for 80 dwellings in a building in the former Fabra i Coats factory complex in Barcelona forms part of an urban operation to recover a 19th-century textile mill for the city and give the district of Sant Andreu over 28.000 m2 of facilities and social housing. The intervention consisted of emptying a building (100x15m) in the complex and refilling it with 80 dwellings for young people. The repetitive nature of a housing program shifts attention to the communal spaces. The stairways and halls therefore present an overall perception of the volumes by means of the use of double-height spaces arranged vertically. They also connect visually by means of diagonals from the ground-floor foyer to the roof trusses. Materials, finishes, and textures are used to identify the industrial nature of the original building.”(Peig Font 2020). The concept behind this specific vertical system provided a spatial journey, fostering interaction and communication amongst the residents of the distinct floors. The use of double volume height in the communal areas linked the different levels of the building and made use of the original industrial volume. This design strategy helps to maintain a sense of the open, expansive nature of the factory. Also maintaining the original materials of the structure of the building, its industrial aesthetic is enhanced while being used primarily as a residential building. The interior is transformed to meet modern needs, but care is taken to preserve the spatial qualities of the industrial hall, allowing residents to experience the vastness and historical significance of the space. Fig.: 11 & 12 HOFMEISTER S., Urban Architecture and Community, Since 2010 “The proposal put a lot of focus on the use and circulation spaces for the building such as the multi-purpose rooms and staircases.These spaces were created with the intention of allowing residents to engage one another and develop social relations. There was also provision for cultural places as culture was considered essential in the achievement of the project. “The project seeks to respect the existing building as much as possible, proposing an independent, lightweight wooden interior structure. Four floors are planned, maintaining a separation layer from the existing facades. The apartment layouts are designed for cross ventilation, allowing for dual orientation.” (Wessely and Hofmeister 2023, 237) The significance of this proposal is that it managed to preserve the Industrial Heritage of the existing structure. This concept of transformation maintained the industrial spirit of the building and the textile factory, using its large interior spaces with a new layout for the housing units. The exterior structure of the factory remained, and new internal construction was put up in an attempt to fit new living standards within the framework of the building. The internal partitions, which were lightweight materials such as wood were done in a way that they could fit into the old building without altering the original design, keeping the scale and external image of the existing building, while changing interior scales for comfortable and efficient living. The main concept that defined the design was the modularity and flexibility of the living units. Concerning the spatial design, the architectural layout featured efficient and comfortable living spaces with cross ventilation and natural light from two directions. Moreover, circulation-shared spaces such as staircases and multi-purpose rooms are positioned to achieve social integration and a sense of communal togetherness throughout the structure. These communal facilities have been conceived as being at the heart of the development’s vision. They are purposefully intended for people to have contact with their neighbors and feel that they are part of a community. This final proposal balanced the preservation of a historical structure with the need for modern housing solutions, especially targeting young people who face housing challenges in Barcelona. 66 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN Fig. 13: ZARAVELI Z.,View of the interior public space, 27th October 2024 Fig. 14: HOFMEISTER S., Urban Architecture and Community, Since 2010 “Recreational spaces are also part of the complex, including a four-storey hall offering space for a local club to practice the Catalan national sport of castellets, in which teams of around 20 men, women, and children form a human tower. The architect's goal was to preserve the character of the existing buildings as faithfully as possible.”(Wessely and Hofmeister 2023, 238). Within the frame of the Fabra i Coats industrial complex, which formerly served as a storage facility, the construction of 46 social housing units has been the final design proposal, thereby preserving the existing building’s structure and architectural design. Having three different phases of visions this building ended up having 46 units distributed across four floors, including 44 two-bedroom apartments and 2 one-bedroom units specifically designed for accessibility. The project also includes communal spaces through the staircases and special rooms. “The first decision was to stress the length of the warehouse: the access is placed at the center, creating an interior square from which the stairs depart in a double ascending diagonal, connecting the whole building physically and visually” (Roldán + Berengué/Arquitectura Viva). The renovation plan for the Fabra i Coats warehouse focuses on preserving the building's original length. The main entrance forms an interior square at the center, which is the core of the area. This design connects the building's circulation both visually and physically using a double diagonal staircase that rises upwards. The aim is to keep a unified feel while changing from the warehouse's industrial past to the new residential spaces. “The timber dwelling modules extend over four floors in what was once a two-storey block. They are set back from the old thick brick wall on both sides, creating a four-storey air space facing the street that doubles as a climate buffer. The side facing the courtyard has covered walkways that serve less as a circulation area but act more like a catwalk, a liminal zone between inside and outside. It also functions somewhat like a shop window, offering a clear view through the former factory’s large windows, whose glass has now been replaced by a thin wire mesh.”(Wessely and Hofmeister 67 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN Fig. 13: ZARAVELI Z.,View of the interior public space, 27th October 2024 Fig. 14: HOFMEISTER S., Urban Architecture and Community, Since 2010 “Recreational spaces are also part of the complex, including a four-storey hall offering space for a local club to practice the Catalan national sport of castellets, in which teams of around 20 men, women, and children form a human tower. The architect's goal was to preserve the character of the existing buildings as faithfully as possible.”(Wessely and Hofmeister 2023, 238). Within the frame of the Fabra i Coats industrial complex, which formerly served as a storage facility, the construction of 46 social housing units has been the final design proposal, thereby preserving the existing building’s structure and architectural design. Having three different phases of visions this building ended up having 46 units distributed across four floors, including 44 two-bedroom apartments and 2 one-bedroom units specifically designed for accessibility. The project also includes communal spaces through the staircases and special rooms. “The first decision was to stress the length of the warehouse: the access is placed at the center, creating an interior square from which the stairs depart in a double ascending diagonal, connecting the whole building physically and visually” (Roldán + Berengué/Arquitectura Viva). The renovation plan for the Fabra i Coats warehouse focuses on preserving the building's original length. The main entrance forms an interior square at the center, which is the core of the area. This design connects the building's circulation both visually and physically using a double diagonal staircase that rises upwards. The aim is to keep a unified feel while changing from the warehouse's industrial past to the new residential spaces. “The timber dwelling modules extend over four floors in what was once a two-storey block. They are set back from the old thick brick wall on both sides, creating a four-storey air space facing the street that doubles as a climate buffer. The side facing the courtyard has covered walkways that serve less as a circulation area but act more like a catwalk, a liminal zone between inside and outside. It also functions somewhat like a shop window, offering a clear view through the former factory’s large windows, whose glass has now been replaced by a thin wire mesh.”(Wessely and Hofmeister 2023, 238). Every effort is made to respect the existing building, so an independent and lightweight interior structure made of wood has been proposed. In order to preserve a degree of separation from the current façade, four storeys have been inhabited. The installation of timber dwelling modules inside the pre-existing two-story block is a significant architectural device that makes possible the extension to four floors without directly affecting the original structure of the building. By pushing the new modules inward from the solid brick cache walls, a four-story street-facing cavity is formed which plays the role of a climate buffer. ”To achieve this a wood structure is used, five times lighter than a steel one to avoid exceeding the 1,000 kg/m² load-bearing capacity of the original warehouse. The frame timber structure is based on the old steel structures used to shelve thread”. (Roldán + Berengué/Arquitectura Viva) This is a unique method of keeping the original two floors of the existing warehouse. These floors, though not strengthened, support two new residential levels built with a lightweight wood frame. Instead of starting from scratch, the design aims to make the most of what's already in place. By installing new, lightweight wooden floors, the architects made sure the original building's weight limit wasn't surpassed. Using wood in the new structure, which is five times lighter than steel, is both practical and meaningful—it links the space's past industrial use with its new role. Fig. 15: HOFMEISTER S, Urban Architecture and Community, Since 2010 “Neighbours’ conversations are audible in the hallway, along with the clatter of keys when residents open the door to their apartments. Metal grilles protect against intruders and provide fall protection while allowing fresh air to sweep through the building. Inside the dwellings, the architects installed sturdy security grilles in front of the floor-to-ceiling windows, allowing bur glar-proof cross-ventilation even when no one is home.”(Wessely and Hofmeister 2023, 238). By fostering an ambient awareness of other people's existence, the sounds of neighbors talking and opening their doors demonstrate a degree of acoustic permeability that may improve social interaction. Also without sacrificing airflow, the architects also prioritized security. Installing metal grilles at entryways and on floor-to-ceiling windows accomplishes two goals: it ensures safety and prevents intruders while permitting cross-ventilation. 68 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN The transformation of the Fabra i Coats factory into a housing project can be considered a good case of how adaptive reuse can be employed to solve contemporary issues without compromising history. The plan's step-by-step growth—from the initial vision in 2009 to the last 2015 design by Roldán + Berengué Architects—aimed to keep the site's factory character while changing its structure for modern living. The new addition of communal areas like multi-use rooms, hallways, and cultural spaces encourages the residents to interact with each other building a stronger community feeling among them. Using light wood units inside the old factory building shows a desire to keep the structure's original character while meeting today's needs. Design features such as the doubled height spaces, cross-ventilation systems, and climate controls point to a careful approach to both environmental and social requirements. This well-thought-out approach led to a well-rounded answer that offered 46 homes, spaces for culture, and places for the community to gather. It made a place to live that respects the building's history while meeting today's needs. In summary, this project not only kept the architectural and historical features of the old textile factory but also creatively transformed it into a sustainable and socially integrated living space. By adding cultural areas and design features it found a balance between showing the building's industrial history and meeting the private needs of its residents. This created a special example of urban renewal in historic settings. The project shows a balanced mix of protecting architectural history and creating urban design with a community-focused approach that considers the needs of residents. SUSTAINABILITY Nowadays, sustainability is one of the fundamental principles in all development and rehabilitation of architectural structures. Sustainable architecture seeks not only to protect the environment but also to ensure social and economic well-being. This is a topic that invites reflection and collaboration, not only from architects, but also from engineers, urban planners and the community itself, who, working together, can move towards a more sustainable and balanced future. In this sense, it is important to reflect on the relationship between climate change and the city, as the way we design, build and inhabit our spaces has a direct impact on the planet and our quality of life. Sustainability in architecture involves aspects that go beyond the selection of eco-friendly materials or the implementation of efficient technologies. It is a holistic approach that considers the entire life cycle of a building: from its conception and construction to its use, maintenance and eventual reuse or recycling. The aim is to minimize environmental impact, reduce energy consumption and use natural resources in a conscious and responsible way. This transformation requires empathy and shared responsibility, where every actor - from professionals to citizens - plays an active role in building a sustainable future. By 69 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN The transformation of the Fabra i Coats factory into a housing project can be considered a good case of how adaptive reuse can be employed to solve contemporary issues without compromising history. The plan's step-by-step growth—from the initial vision in 2009 to the last 2015 design by Roldán + Berengué Architects—aimed to keep the site's factory character while changing its structure for modern living. The new addition of communal areas like multi-use rooms, hallways, and cultural spaces encourages the residents to interact with each other building a stronger community feeling among them. Using light wood units inside the old factory building shows a desire to keep the structure's original character while meeting today's needs. Design features such as the doubled height spaces, cross-ventilation systems, and climate controls point to a careful approach to both environmental and social requirements. This well-thought-out approach led to a well-rounded answer that offered 46 homes, spaces for culture, and places for the community to gather. It made a place to live that respects the building's history while meeting today's needs. In summary, this project not only kept the architectural and historical features of the old textile factory but also creatively transformed it into a sustainable and socially integrated living space. By adding cultural areas and design features it found a balance between showing the building's industrial history and meeting the private needs of its residents. This created a special example of urban renewal in historic settings. The project shows a balanced mix of protecting architectural history and creating urban design with a community-focused approach that considers the needs of residents. SUSTAINABILITY Nowadays, sustainability is one of the fundamental principles in all development and rehabilitation of architectural structures. Sustainable architecture seeks not only to protect the environment but also to ensure social and economic well-being. This is a topic that invites reflection and collaboration, not only from architects, but also from engineers, urban planners and the community itself, who, working together, can move towards a more sustainable and balanced future. In this sense, it is important to reflect on the relationship between climate change and the city, as the way we design, build and inhabit our spaces has a direct impact on the planet and our quality of life. Sustainability in architecture involves aspects that go beyond the selection of eco-friendly materials or the implementation of efficient technologies. It is a holistic approach that considers the entire life cycle of a building: from its conception and construction to its use, maintenance and eventual reuse or recycling. The aim is to minimize environmental impact, reduce energy consumption and use natural resources in a conscious and responsible way. This transformation requires empathy and shared responsibility, where every actor - from professionals to citizens - plays an active role in building a sustainable future. By adopting more conscious and respectful architectural practices, we not only contribute to protecting the environment, but also to improving our cities and communities, promoting a more respectful and balanced coexistence between humans and nature. In this text, we will address sustainability in Fabra i coats rehab. project by introducing RP and TH ideas to the discussion. For example, to RP sust means…"Sustainability is about building with the future in mind, not just the physical strength of a building, but also its stylistic strength, the uses of the future and the resilience of the planet itself and its energy resources". (Piano 1999, 25). On the other hand, Herzog states that "Sustainability covers a wide range of issues: choosing and sourcing materials, the amount of energy needed to transport and finish them, building construction processes, their thermal performance rating, the amount of energy needed to keep them running, maintenance processes, durability, internal flexibility in terms of use, adaptability to new technologies in the supply, disposal and telecommunications sectors, suitability for dismantling and possible re-erection, the conversion and recycling possibilities; but of course in particular, suitability for the use of solar energy for the purposes of heating, cooling, for using daylight, and generating electricity. The question is how to exploit this potential. It is a fact that the amount of energy consumed to meet buildings’ thermal needs is already a quarter or a fifth of what was achieved only a few years ago. Ultimately it is not about an Olympic discipline, but about looking at the matter as a whole and saving energy dramatically, or using solar energy. So we must apply the way we look at energy for a single building to whole towns and cities, and take a similar approach to that used in the single building field: note all the relevant factors, understand how they interact, and develop new models that can be integrated into the existing system. I would particularly like to warn against believing that there are recipes for this. Cities indeed share some basic phenomena, but these vary greatly in their quality and internal relations. In any city it is about the buildings, but also about the traffic generated by town planning, supply and disposal systems, potential energy sources, options for changing the status quo, and a great deal more. I am convinced that architects have a key role to play in the extremely complex field of the world-wide ecological crisis, because this impacts directly on their professional responsibility. When all is said and done about 40% of primary energy is used for building and running buildings, at least in Central Europe.” (Contal-Chavannes Revedin 2009, 7). Applied to the case study, the Fabra i Coats project represents how a holistic approach can be reconciled with the conservation of historical heritage, the city of today and sustainability. The rehabilitation project is not limited to revitalizing the space to turn it into a cultural and social center. In addition, the architects integrated sustainable strategies in three dimensions: environmental, social and economic. 70 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN From the environmental point of view, two fundamental ideas were to conserve and adapt. The aim of the rehabilitation is to minimize the ecological impact, so the architects decided to conserve the original building, and to minimize the addition of new materials. The existing structure was adapted to meet current energy efficiency standards, improving thermal insulation and allowing efficient use of natural light by enlarging the original windows. In addition, a cross-ventilation system was installed, which reduces reliance on mechanical systems by half. The use of recycled and local materials not only reduced the carbon footprint of the project but also respected the essence of the building. In this way, it is evident how a sustainable approach can go hand in hand with heritage conservation. In terms of the social dimension, Roldán and Berengué designed the project with the idea of being an inclusive and multifunctional space. With Fabra i Coats, a cultural center, coworking, workshop and residency space, cohabitation between a diversity of users is encouraged. This case study reveals how sustainability implies not only a technical strategy but also the capacity of a building to integrate into the urban social fabric by adapting to real and changing needs. However, a crucial question may arise here: can such spaces, designed as engines of social integration, maintain their relevance and utility over time, or do they risk becoming obsolete and disconnected from the real needs of the community? This is where we can emphasize the concepts of sustainability mentioned above, understanding that sustainability not only implies designing for the present, but also ensuring the adaptability and resilience of these spaces in the face of future challenges. Aiming to create environments that remain functional and significant over time, being able to evolve along with social, economic and environmental dynamics, without compromising the quality of life of current and future generations. Finally, from an economic point of view, this project diversifies the uses of the building, such as cultural spaces, offices, and workshops, in order to ensure a management model that generates its own income and reduces dependence on public subsidies. Such functional versatility ensures the economic viability of the space over time, making Fabra i Coats an example that can be replicated in other interventions in the city. However, for a project like this to have a truly transformative impact, it is also necessary to continually assess its effect on the surrounding communities. Shared spaces must be able to change dynamically to avoid becoming isolated and elitist enclaves that do not reflect the real needs of the city. Thus, the economic dimension cannot be separated from the other two pillars, as sustainability depends on the equal interaction between the three. 71 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN From the environmental point of view, two fundamental ideas were to conserve and adapt. The aim of the rehabilitation is to minimize the ecological impact, so the architects decided to conserve the original building, and to minimize the addition of new materials. The existing structure was adapted to meet current energy efficiency standards, improving thermal insulation and allowing efficient use of natural light by enlarging the original windows. In addition, a cross-ventilation system was installed, which reduces reliance on mechanical systems by half. The use of recycled and local materials not only reduced the carbon footprint of the project but also respected the essence of the building. In this way, it is evident how a sustainable approach can go hand in hand with heritage conservation. In terms of the social dimension, Roldán and Berengué designed the project with the idea of being an inclusive and multifunctional space. With Fabra i Coats, a cultural center, coworking, workshop and residency space, cohabitation between a diversity of users is encouraged. This case study reveals how sustainability implies not only a technical strategy but also the capacity of a building to integrate into the urban social fabric by adapting to real and changing needs. However, a crucial question may arise here: can such spaces, designed as engines of social integration, maintain their relevance and utility over time, or do they risk becoming obsolete and disconnected from the real needs of the community? This is where we can emphasize the concepts of sustainability mentioned above, understanding that sustainability not only implies designing for the present, but also ensuring the adaptability and resilience of these spaces in the face of future challenges. Aiming to create environments that remain functional and significant over time, being able to evolve along with social, economic and environmental dynamics, without compromising the quality of life of current and future generations. Finally, from an economic point of view, this project diversifies the uses of the building, such as cultural spaces, offices, and workshops, in order to ensure a management model that generates its own income and reduces dependence on public subsidies. Such functional versatility ensures the economic viability of the space over time, making Fabra i Coats an example that can be replicated in other interventions in the city. However, for a project like this to have a truly transformative impact, it is also necessary to continually assess its effect on the surrounding communities. Shared spaces must be able to change dynamically to avoid becoming isolated and elitist enclaves that do not reflect the real needs of the city. Thus, the economic dimension cannot be separated from the other two pillars, as sustainability depends on the equal interaction between the three. Fig. 16: SURROCA J., The former yarn circulation space has been converted into an air circulation space, 2019 In conclusion, sustainability in architecture not only encompasses the choice of efficient materials and technologies, but involves a holistic approach that considers environmental, social and economic aspects throughout the life cycle of buildings. Projects such as Fabra i Coats demonstrate how rehabilitation can be a tool to encourage social integration, preserve heritage and ensure long-term economic viability. However, it is essential that these spaces are dynamic and able to adapt to change, that they maintain their relevance over time, avoiding obsolescence and continuously responding to the changing needs of the community. CONCLUSION The rehabilitation of industrial complexes such as Fabra i Coats in Barcelona demonstrates the potential of architectural heritage to adapt to contemporary urban dynamics without losing its historical identity. By combining the preservation of industrial heritage with cultural, social and housing programs, such interventions can become catalysts for social inclusion, urban resilience and sustainable development. The incorporation of social housing, in particular, seems to be a key factor in ensuring that these projects not only transform the urban fabric but also address the real needs of the local population, promoting a more accessible and equitable city. In this sense, we can say that the revitalization of Fabra i Coats is reinforced by the active involvement of the community, which resonates with the principles of historical workers' struggles, where the participation of workers and the community is essential 72 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 MERZ, Anastasia, MATELLO, Carla, VIALEY, Federico, MENCHINI, Rebecca and ZARAVELLI, Zografia APRÈN to define social direction. This process of transformation can be interpreted as emblematic of current struggles for social equity, access to culture and heritage conservation. Likewise, the history of the workers' struggle in Fabra i Coats and its evolution into a cultural center are deeply intertwined, as both highlight the relevance of community, collective memory and the yearning to build a more equitable and participatory future. In the current context of climate emergency, sustainability can be considered as the next step of this process and a relevant principle for future social and economic development. The recovery of this space, through reuse and urban regeneration practices, reflects a commitment to environmental care and the creation of a more responsible city model. Fabra i Coats can be considered as a paradigmatic case that reveals both the opportunities and challenges of industrial heritage rehabilitation. While these types of transformations offer innovative responses to urban issues such as density and access to cultural and social resources, they must also be critically questioned in terms of their inclusive and sustainable impact. Such interventions can remind us that socially responsible architectural rehabilitations are not limited to the material rescue of buildings, but also address revitalization and the relationship between space and community, creating living places that respond to the changing experiences of the contemporary city and preserve its memory for coming generations. The future of these initiatives seems to lie in their ability to be flexible, reversible and participatory, promoting a more cohesive, diverse city that is prepared to face the urban challenges of the 21st century. 73 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From textile to social housing: Fabra i Coats, the challenge of contemporary urban integration APRÈN to define social direction. This process of transformation can be interpreted as emblematic of current struggles for social equity, access to culture and heritage conservation. Likewise, the history of the workers' struggle in Fabra i Coats and its evolution into a cultural center are deeply intertwined, as both highlight the relevance of community, collective memory and the yearning to build a more equitable and participatory future. In the current context of climate emergency, sustainability can be considered as the next step of this process and a relevant principle for future social and economic development. The recovery of this space, through reuse and urban regeneration practices, reflects a commitment to environmental care and the creation of a more responsible city model. Fabra i Coats can be considered as a paradigmatic case that reveals both the opportunities and challenges of industrial heritage rehabilitation. While these types of transformations offer innovative responses to urban issues such as density and access to cultural and social resources, they must also be critically questioned in terms of their inclusive and sustainable impact. Such interventions can remind us that socially responsible architectural rehabilitations are not limited to the material rescue of buildings, but also address revitalization and the relationship between space and community, creating living places that respond to the changing experiences of the contemporary city and preserve its memory for coming generations. The future of these initiatives seems to lie in their ability to be flexible, reversible and participatory, promoting a more cohesive, diverse city that is prepared to face the urban challenges of the 21st century. BIBLIOGRAPHY BARATECH PENINA Maite. 2003. Coats Fabra 100 anos de historia. Barcelona. Interpress, Coats Fabra S.A. ISBN 84-89038-19-8. Available at: https://discovery.upc.edu/discovery/fulldisplay?vid=34CSUC_UPC:VU1&id=991022295 049706706&inst=34CSUC_NETWORK&context=L CONARQUITECTURA EDICIONES S.L., April 2020. Conarquitectura n.74. Culto y Ocio, pp. 89-96. Available at: https://conarquitectura.es/revista/ca74-abril-2020-culto-y-ocio/ CONTAL-CHAVANNES Marie-Hélène, REVEDIN Jana, 2009. Sustainable design. Towards a New Ethic in Architecture and Town Planning. pp.7. Birkhauser Verlag AG. ISBN 978-3-0346-0876-3. Available at: https://www.iberlibro.com/9783764399382/Sustainable-Design-New-Ethic-Architectur e-3764399384/plp CROOK Lizzie, 27 March 2024. Barcelona's "best projects are being done in the field of social housing". Part of Dezeen’s Social Housing Revival. Online. Dezeen. Available at: https://www.dezeen.com/2024/03/27/barcelona-social-housing-revival/ DREY Sabine, HOFMEISTER Sandra, GOMÉZ-MORIANA Rafael, KALTENBACH Frank, KÁRÁSZ Lorenzo, LIESE Julia, PROKOPLJEVIĆJelena, WESSELY Heide, ZETTEL Barbara, 2023. Barcelona: Urban Architecture and Community Since 2010. pp. 237, 238. Barcelona. Edition Detail. ISBN 978-3-95553-607-7. Available at: https://issuu.com/detail-magazine/docs/978-3-95553-607-7-bk_barcelona_en_2023 DURMISEVIC Emma, 2019. Circular economy in construction design - Strategies for reversible buildings. pp. 5, 13, 22. Netherlands. BAMB Consortium. ISBN 978-90-821-698-4-3. Available at: https://www.bamb2020.eu/wp-content/uploads/2019/05/Reversible-Building-DesignStrateges.pdf FABRA I COATS, 2017. Fàbrica de Creació de Barcelona. History. Barcelona: FÀBRICA DE CREACIÓ DE BARCELONA. Available at: https://www.barcelona.cat/fabraicoats/es/quienes-somos/historia?any=1903 FACET Sergi, 2012. PFC: escola bressol I habitatges de protecció oficial a Fabra i Coats. Barcelona. ISBN 978-84-608-1261-6. Available at: https://upcommons.upc.edu/handle/2117/86298 FAYOS I MOLET Ricard, BARBAL Inmaculada, FRADLEY Elaine, 2011. Equipaments. L’ordenació dels conjunts dotacionals. Barcelona. Dotze examples. pp. 144 to 157, 165. Urbanisme i ciutat. Barcelona. ISBN 978-84-9850-315-9. Available at: https://ajuntament.barcelona.cat/barcelonallibres/es/libros/equipaments-lordenacio-d els-conjunts-dotacionals 80 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN accommodating a wide range of household types. It stands as a counterpoint to conventional, rigid housing models, illustrating the potential of architecture to embrace change and meet the demands of a rapidly shifting society. As Anna Puigjaner (1980-) claims, “this housing type and notion of collective life were deeply understood as a tool for social transformation, and they remain highly relevant to today’s housing dilemmas, offering possible lessons for renewed domestic proposals for the present.” (Lang Ho 2016, p.3). Figure 1. Maio. 22 Dwellings Housing Block in Barcelona [photograph]. Digital version. 1777 x 2208 pixels and 72 dpi. Barcelona: Maio, 2016 2. Flexibility The 110 Rooms project by MAIO serves as an example of architectural flexibility, addressing the growing demand for adaptable and sustainable housing. The project focuses on creating a universally functional space that can accommodate various uses while tackling pressing social and environmental challenges. By utilizing a modular design composed of similar rooms, the project offers a framework for spaces that can be reconfigured or combined to meet diverse needs. This adaptability allows the building to serve as housing, offices, or studios, providing long-term versatility. Additionally, this approach enhances the building’s durability by enabling functional changes over time. The concept aligns with broader discussions of flexibility in architecture. Unlike traditional notions of flexibility involving movable partitions, this approach focuses on the potential of neutral, universally sized spaces to adapt to various uses. The open layout encourages residents to personalize their spaces and fosters shared living experiences, promoting a sense of community. Flexible architecture offers several opportunities. Open layouts, for example, eliminate corridors and create fluid transitions between spaces, which strengthens social connections. Furthermore, modularity optimizes space usage, making it possible to provide more affordable housing solutions in urban areas where space is often limited. 3 81 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN accommodating a wide range of household types. It stands as a counterpoint to conventional, rigid housing models, illustrating the potential of architecture to embrace change and meet the demands of a rapidly shifting society. As Anna Puigjaner (1980-) claims, “this housing type and notion of collective life were deeply understood as a tool for social transformation, and they remain highly relevant to today’s housing dilemmas, offering possible lessons for renewed domestic proposals for the present.” (Lang Ho 2016, p.3). Figure 1. Maio. 22 Dwellings Housing Block in Barcelona [photograph]. Digital version. 1777 x 2208 pixels and 72 dpi. Barcelona: Maio, 2016 2. Flexibility The 110 Rooms project by MAIO serves as an example of architectural flexibility, addressing the growing demand for adaptable and sustainable housing. The project focuses on creating a universally functional space that can accommodate various uses while tackling pressing social and environmental challenges. By utilizing a modular design composed of similar rooms, the project offers a framework for spaces that can be reconfigured or combined to meet diverse needs. This adaptability allows the building to serve as housing, offices, or studios, providing long-term versatility. Additionally, this approach enhances the building’s durability by enabling functional changes over time. The concept aligns with broader discussions of flexibility in architecture. Unlike traditional notions of flexibility involving movable partitions, this approach focuses on the potential of neutral, universally sized spaces to adapt to various uses. The open layout encourages residents to personalize their spaces and fosters shared living experiences, promoting a sense of community. Flexible architecture offers several opportunities. Open layouts, for example, eliminate corridors and create fluid transitions between spaces, which strengthens social connections. Furthermore, modularity optimizes space usage, making it possible to provide more affordable housing solutions in urban areas where space is often limited. 3 Figure 2. Fornari, L . 22 Internal arrangements for 50x50 variations, based on Mies Van der Rohe drawings [drawings]. Digital version. 3300x 840 pixels and 72 dpi. Brasil : Arquitextos, 2011 However, implementing such flexibility presents challenges. Developing universal systems for plumbing, ventilation, and other utilities can be technically complex. Legal restrictions, such as zoning laws and building codes, often limit how spaces can be used or adapted. The high initial construction costs associated with such projects can deter developers, who may also resist the concept due to a preference for market-driven designs that favor turnover and sales. Additionally, residents may find it psychologically difficult to adapt to flexible, open layouts, which diverge from traditional housing norms. The global relevance of flexible housing is underscored by significant trends. Urbanization and housing crises in many major cities have led to soaring housing costs and a scarcity of space, requiring innovative solutions like flexible layouts. Modern household structures are becoming more diverse, encompassing single professionals, multigenerational families, and elderly populations, all of whom require adaptable living environments. Flexible spaces also promote social inclusion by encouraging shared living and community engagement, countering the isolation often associated with traditional housing. This emphasis on flexibility aligns with broader architectural strategies, such as adaptive reuse, which seeks to repurpose existing structures to meet contemporary needs while preserving their historical and cultural value. Despite its advantages, the “similar rooms” concept has limitations. Fixed utility zones such as kitchens and bathrooms cannot be easily relocated, which restricts the full potential of flexibility. Private developers may prioritize short-term market goals over long-term adaptability, limiting the widespread adoption of such designs. Additionally, outdated regulatory frameworks in many countries hinder the implementation of innovative housing models, further complicating efforts to integrate flexible spaces into mainstream architecture. Barcelona’s housing crisis illustrates the importance of flexibility in addressing complex urban challenges. With rising housing costs, gentrification, and a speculative real estate market, the city faces significant difficulties in providing affordable, inclusive housing. Flexibility emerges as a crucial principle in designing solutions that respond to these interconnected issues and adapt to the evolving needs of residents. According to the book Contemporary Co-housing in Europe, the housing crisis in Barcelona reflects global patterns exacerbated by the 2008 financial crash, which intensified the commodification of housing and reduced access to affordable homes. 4 82 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN Flexible housing models, such as co-living arrangements, have gained traction in Barcelona as innovative alternatives to traditional housing. These models combine shared and private spaces, fostering a sense of community while allowing individuals to tailor their living environments to their personal needs. For example, co-living spaces like La Borda (Figure 3) provide non-speculative cooperative ownership structures, ensuring long-term affordability while accommodating diverse household types, from singles to multi-generational families. The book highlights how these projects also counteract the speculative nature of the housing market, offering stable and inclusive housing options for those most affected by economic instability. Figure 3. La Borda. Unknown [digital drawing]. 976x768 pixels and 300 dpi size. Digital version. Barcelona: Laco, 2018. Urban policies in Barcelona have also embraced flexibility to address the housing crisis. The city’s regulation of short-term rental platforms exemplifies an adaptive approach, aiming to balance the economic benefits of tourism with the housing needs of residents. Similarly, the introduction of temporary housing solutions for displaced individuals and mixed-income developments reflects a commitment to creating a more inclusive and responsive urban environment. These policies, as explored in the book, demonstrate how a flexible governance framework can evolve to meet the immediate and long-term demands of urban housing. Economic flexibility plays a vital role in alleviating the financial strain on Barcelona’s residents. Initiatives such as rent-to-own schemes or subsidized housing projects provide pathways for individuals to adapt to their financial circumstances without facing displacement. Co-living spaces further enhance economic adaptability by promoting resource sharing—common areas, utilities, and shared amenities significantly reduce individual costs while fostering community resilience. The book underscores that these resource-sharing models not only address affordability but also strengthen social ties among residents, enhancing both social and economic sustainability. The design of urban spaces also benefits from flexibility. Multi-purpose buildings that integrate residential, commercial, and recreational functions address the diverse needs of city dwellers while reducing urban sprawl. Environmental housing, such as energy-efficient co-living projects, underscores the potential for adaptive architecture to minimize ecological footprints and respond to 5 83 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN Flexible housing models, such as co-living arrangements, have gained traction in Barcelona as innovative alternatives to traditional housing. These models combine shared and private spaces, fostering a sense of community while allowing individuals to tailor their living environments to their personal needs. For example, co-living spaces like La Borda (Figure 3) provide non-speculative cooperative ownership structures, ensuring long-term affordability while accommodating diverse household types, from singles to multi-generational families. The book highlights how these projects also counteract the speculative nature of the housing market, offering stable and inclusive housing options for those most affected by economic instability. Figure 3. La Borda. Unknown [digital drawing]. 976x768 pixels and 300 dpi size. Digital version. Barcelona: Laco, 2018. Urban policies in Barcelona have also embraced flexibility to address the housing crisis. The city’s regulation of short-term rental platforms exemplifies an adaptive approach, aiming to balance the economic benefits of tourism with the housing needs of residents. Similarly, the introduction of temporary housing solutions for displaced individuals and mixed-income developments reflects a commitment to creating a more inclusive and responsive urban environment. These policies, as explored in the book, demonstrate how a flexible governance framework can evolve to meet the immediate and long-term demands of urban housing. Economic flexibility plays a vital role in alleviating the financial strain on Barcelona’s residents. Initiatives such as rent-to-own schemes or subsidized housing projects provide pathways for individuals to adapt to their financial circumstances without facing displacement. Co-living spaces further enhance economic adaptability by promoting resource sharing—common areas, utilities, and shared amenities significantly reduce individual costs while fostering community resilience. The book underscores that these resource-sharing models not only address affordability but also strengthen social ties among residents, enhancing both social and economic sustainability. The design of urban spaces also benefits from flexibility. Multi-purpose buildings that integrate residential, commercial, and recreational functions address the diverse needs of city dwellers while reducing urban sprawl. Environmental housing, such as energy-efficient co-living projects, underscores the potential for adaptive architecture to minimize ecological footprints and respond to 5 environmental challenges. According to the book, Barcelona’s co-living projects exemplify how spatial design can balance the dual goals of community-building and environmental responsibility. Whether through innovative housing models, adaptive policies, or resource-efficient designs, flexible approaches enable the city to navigate the pressures of economic inequality, urbanization, and environmental sustainability. By prioritizing flexible solutions, Barcelona not only addresses its immediate housing challenges but also builds a foundation for a more resilient and inclusive urban future. The 110 Rooms project illustrates how architecture can respond to the evolving needs of urban societies by embracing adaptability. However, for such concepts to gain broader acceptance, it is necessary to overcome technical, legal, and cultural barriers. As global demographics and lifestyles continue to shift, flexible housing holds promise as a solution to urban challenges, offering a pathway to more inclusive, resilient, and future-ready living environments. 3. History of Preexisting According to Maio Architects, (2016) “ 110 Rooms are designed based on the existing domestic typological tradition of the Eixample in Barcelona, where the rooms are distributed similarly to how they were arranged in the late 19th century. Many of these housing units have been modified but without showing substantial changes.” (Figure 4 and 5) Figure 4. Unknown author. View of the facade and dwelling type pre-existing [photograph from archive]. Unknown resolution. Barcelona: Ajuntament of Barcelona , 2016 Figure 5. Lao, M . Actual Facade [photograph from archive]. 3024 × 4032 size and 300 dpi . Barcelona: Lao, 2024 3.1 Eixample of Barcelona The Eixample of Barcelona emerged in the nineteenth century in response to the needs of the time. Its expansion was possible after the demolition of the city walls (1854), which freed up space for urban development. The Cerdà Plan (1859) (Figure 6), designed by Ildefons Cerdà (1860-1897), 6 84 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN sought to create a more optimal city through wide streets and blocks with interior courtyards to ensure better living conditions, although his egalitarian proposal was not completely fulfilled due to real estate speculation. (Corominas Ayala, M., & Busquets, J. 2009) The architecture of the Eixample is characterized by its heritage, with a unique combination of neoclassicist, eclectic, art nouveau, modernist and contemporary buildings that reflect its historical evolution. The style stands out among an urbanization that also includes rental houses between party walls, typical of the private initiative that drove its construction since 1863. The Municipal Ordinances of 1891 established key rules to regulate construction, such as maximum heights and buildable depth, contributing to the urban complexity of the neighborhood (Sobrequés i Callicó, J. 1991). Today, the Eixample is a populous and diverse district, where housing, stores, offices and cultural spaces coexist. Its squares and gardens offer places for social interaction. The transformations in housing during the 20th century, including changes in distribution and habitation, have redefined the inhabitantˋs relationship with their homes. As a point of reference, Maio Architects have chosen to implement an adaptive reuse strategy to preserve what is considered valuable within the existing context. Figure 6. Cerdà, I. Barcelona's surroundings plan before Plan Cerda. [Ink Drawing on paper]. 1984 × 1120 size and 72 dpi. Barcelona: BCNROC, 1885. 3.2 Adaptive Reuse Adaptive reuse has been defined as “The renovation and reuse of pre-existing structures for new purposes [...] the appreciation of heritage and evolving social needs” (Wong, 2022, p. 6-7). Taking this into account, adaptive reuse may be considered to be rooted in much of the history of mankind. Since antiquity, from the Romans onward, the reuse of structures and materials for new buildings has been a longstanding practice. This tradition has evolved over time and has gained even greater significance in recent years, driven by growing global awareness and concern for environmental sustainability. 7 85 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN sought to create a more optimal city through wide streets and blocks with interior courtyards to ensure better living conditions, although his egalitarian proposal was not completely fulfilled due to real estate speculation. (Corominas Ayala, M., & Busquets, J. 2009) The architecture of the Eixample is characterized by its heritage, with a unique combination of neoclassicist, eclectic, art nouveau, modernist and contemporary buildings that reflect its historical evolution. The style stands out among an urbanization that also includes rental houses between party walls, typical of the private initiative that drove its construction since 1863. The Municipal Ordinances of 1891 established key rules to regulate construction, such as maximum heights and buildable depth, contributing to the urban complexity of the neighborhood (Sobrequés i Callicó, J. 1991). Today, the Eixample is a populous and diverse district, where housing, stores, offices and cultural spaces coexist. Its squares and gardens offer places for social interaction. The transformations in housing during the 20th century, including changes in distribution and habitation, have redefined the inhabitantˋs relationship with their homes. As a point of reference, Maio Architects have chosen to implement an adaptive reuse strategy to preserve what is considered valuable within the existing context. Figure 6. Cerdà, I. Barcelona's surroundings plan before Plan Cerda. [Ink Drawing on paper]. 1984 × 1120 size and 72 dpi. Barcelona: BCNROC, 1885. 3.2 Adaptive Reuse Adaptive reuse has been defined as “The renovation and reuse of pre-existing structures for new purposes [...] the appreciation of heritage and evolving social needs” (Wong, 2022, p. 6-7). Taking this into account, adaptive reuse may be considered to be rooted in much of the history of mankind. Since antiquity, from the Romans onward, the reuse of structures and materials for new buildings has been a longstanding practice. This tradition has evolved over time and has gained even greater significance in recent years, driven by growing global awareness and concern for environmental sustainability. 7 According to Re Architecture: Old and New in Adaptive Reuse of Modern Industrial Heritage (Xue, 2018 pg.11), this approach redefines the value of existing architecture by adapting it to contemporary functions, eliminating the need for complete demolition or reconstruction. It can be categorized into two types, based on Lilian Wong (2022) “Refurbishment, which improves and upgrades an existing structure, and transformation, which intentionally changes an existing structure to give it a new purpose. In many ways, this differentiation of reuse project types sheds light on the recent focus on adaptive reuse as projects of transformation rather than centuries-old projects of upgrades” (Figure 7). Figure 7. Unknown author. The Arles amphitheater as a medieval housing community vs The Arles amphitheater today as a tourist site. [Photograph ]. Unknown size. Barcelona: Wong, L, 2022 Aldo Rossi discusses the concept of "locus," describing it as the relationship between a specific location and the buildings within it. This relationship is both unique and universal, shaping the urban image. According to Rossi, architecture pervades these dynamics, imbuing the constructed environment with meaning and value. This connection arises naturally, as it is deeply embedded in the human condition (Kavraroğlu, 2023). In essence, "locus" becomes a collective understanding, deeply rooted in cities and buildings, evolving with shifts in function while maintaining its intrinsic connection to place. 2.3 Genius Loci According to N-Sc., Romans understood genius loci. as... for the Romans is “belief every "independent" being has its genius, its guardian spirit. This spirit gives life to people and places, accompanies them from birth to death, and determines their character or essence for places” (Norberg-Schulz, 1980, p. 18 - 19),for Louis Khan “In particular he recognized that it is of great existential importance to come to terms with the genius of the locality where his life takes place” (Norberg-Schulz, 1980, p. 18 - 19). Architecture, as Norberg-Schulz explains, aims to visualize the genius loci by creating meaningful places where humans can live and connect. This involves analyzing a site’s physical and environmental qualities—its material substance, form, texture, and color—which together define its "environmental 8 86 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN character", or essence. A place is a holistic phenomenon that cannot be reduced to any of its individual elements without losing its concrete nature. This understanding offers a fresh perspective on built spaces, emphasizing their relevance to human identity and the profound sense of belonging and value that arises from our interaction with these environments (Figure 8). For Rossi, the locus is essential to understanding urban artifacts, as it represents the specific qualities and conditions of the space. This concept emphasizes the relationship between architecture and its surroundings, highlighting the importance of identifying the unique character of the place. It highlights that the locus combines singularity and universality, meaning that each place has unique characteristics, but also responds to universal architectural principles. A balance must be found between these dimensions, designing spaces that are unique but consistent with the overall values and needs of the architecture (Kavraroğlu, 2023). Finally, the locus is associated with persistence over time and collective memory. Rossi argues that the form of buildings can remain significant despite changes in their original functions, facilitating their reuse. He also considers the city as the locus where traces of the past are preserved and community identity is built, comparing it to a theater in which human events leave marks in the collective memory (Kavraroğlu, 2023). Figure 8. Unknown author. Different housing typologies, and relation with sense of belonging with the context . [ Photograph ]. Unknown size. Germany: Norberg-Schulz, 1890. The concepts of adaptive reuse, locus, and genius loci are deeply interconnected, as they all address the relationship between architecture, memory, and the evolving needs of society. Adaptive reuse focuses on preserving the historical and material essence of buildings by repurposing them for contemporary functions. This practice reflects a commitment to sustainability and cultural continuity, ensuring that the physical structures and their embedded meanings remain relevant in changing contexts. This aligns with the notion of the locus, as described by Aldo Rossi, which emphasizes the unique identity of a place and its enduring connection to its surroundings, even when its original function is altered. The genius loci, or "spirit of the place", complements these ideas by highlighting the intrinsic character and essence of a location, as understood by both its physical attributes and the experiences it fosters. According to Norberg-Schulz, architecture’s role is to materialize this spirit, creating spaces that resonate with human existence and identity. Adaptive reuse exemplifies this principle by not only preserving the genius loci but also adapting it to meet modern demands. By doing so, it bridges the past and present, maintaining a site’s environmental character while fostering a sense of belonging and connection for its users. 9 87 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN character", or essence. A place is a holistic phenomenon that cannot be reduced to any of its individual elements without losing its concrete nature. This understanding offers a fresh perspective on built spaces, emphasizing their relevance to human identity and the profound sense of belonging and value that arises from our interaction with these environments (Figure 8). For Rossi, the locus is essential to understanding urban artifacts, as it represents the specific qualities and conditions of the space. This concept emphasizes the relationship between architecture and its surroundings, highlighting the importance of identifying the unique character of the place. It highlights that the locus combines singularity and universality, meaning that each place has unique characteristics, but also responds to universal architectural principles. A balance must be found between these dimensions, designing spaces that are unique but consistent with the overall values and needs of the architecture (Kavraroğlu, 2023). Finally, the locus is associated with persistence over time and collective memory. Rossi argues that the form of buildings can remain significant despite changes in their original functions, facilitating their reuse. He also considers the city as the locus where traces of the past are preserved and community identity is built, comparing it to a theater in which human events leave marks in the collective memory (Kavraroğlu, 2023). Figure 8. Unknown author. Different housing typologies, and relation with sense of belonging with the context . [ Photograph ]. Unknown size. Germany: Norberg-Schulz, 1890. The concepts of adaptive reuse, locus, and genius loci are deeply interconnected, as they all address the relationship between architecture, memory, and the evolving needs of society. Adaptive reuse focuses on preserving the historical and material essence of buildings by repurposing them for contemporary functions. This practice reflects a commitment to sustainability and cultural continuity, ensuring that the physical structures and their embedded meanings remain relevant in changing contexts. This aligns with the notion of the locus, as described by Aldo Rossi, which emphasizes the unique identity of a place and its enduring connection to its surroundings, even when its original function is altered. The genius loci, or "spirit of the place", complements these ideas by highlighting the intrinsic character and essence of a location, as understood by both its physical attributes and the experiences it fosters. According to Norberg-Schulz, architecture’s role is to materialize this spirit, creating spaces that resonate with human existence and identity. Adaptive reuse exemplifies this principle by not only preserving the genius loci but also adapting it to meet modern demands. By doing so, it bridges the past and present, maintaining a site’s environmental character while fostering a sense of belonging and connection for its users. 9 Together, these concepts offer a framework for understanding architecture as a dynamic and layered practice. Adaptive reuse becomes a tool for preserving the locus and genius loci, ensuring that architecture remains a meaningful reflection of cultural memory and identity. This interplay invites further reflection on how spaces can balance their historical significance with contemporary relevance, providing both functional utility and a deep, lasting connection to the human experience. Such reflections align with the concept of genius loci, emphasizing the spirit of a place as an integral element of architectural design. This challenges architects to navigate the tension between preserving the essence of a place and innovating for the future, fostering environments that are both sustainable and emotionally resonant. 5. Searching for a path to equity 5.1. Changing Urban Social Structure The Industrial Revolution marked a significant shift in urban demographics and lifestyles, leading to the rapid urbanization and emergence of new housing typologies. By the late 19th century, cities like Barcelona experienced accelerated population growth and industrialization. This was accompanied by urban planning initiatives, such as the Eixample Plan (1859) proposed by Ildefons Cerdà (1815 - 1876), which aimed to alleviate overcrowding and improve living conditions through the introduction of systematic grid layouts and courtyards. By the 20th century, architectural design had evolved to address the shifting societal needs of the time. The Bauhaus movement prioritized functional equality, emphasizing standardized designs to serve collective goals. In contrast, Team X advocated for flexibility and human-centric design, creating spaces that responded to diverse behaviors and community needs (Architectuul, 2020). This transition reflects a growing recognition of architecture as a dynamic framework for living, rather than a fixed construct. Simultaneously, broader social and economic factors—including the commercialization and financialization of housing, women’s empowerment, increasingly diverse family structures, transient populations, an aging population, and societal fragmentation—began reshaping modern cities like Barcelona (Rolando, 2022, p.158). These changes altered the dynamics of urban living, placing greater emphasis on the need for flexible and inclusive housing solutions. In cities like Barcelona, the increasing commercialization and financialization of housing further exacerbated disparities in access to affordable living spaces. The emphasis on homeownership as the dominant housing model left little room for alternative approaches, disproportionately affecting vulnerable populations. These systemic challenges were brought into sharp focus during Spain’s 2008 financial crisis, which exposed critical weaknesses in the housing model and its reliance on homeownership as the dominant paradigm. Spain’s 2008 financial crisis triggered a profound housing affordability crisis. Between 2008 and 2012, more than 400,000 mortgages were foreclosed throughout Spain, which affected thousands of households. By the end of 2012, 244,500 housing evictions had been initiated, with nearly 160,000 carried out (Julie De Weerdt and Marisol Garcia, 2016, p.15). This resulted in the rise of housing 10 88 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN movements like the Plataforma de Afectados por la Hipoteca (PAH), which advocated for pushing affordable housing and systemic change in legal reform . This socio-economic transformation, along with broader societal shifts, laid the foundation for a new approach to housing that prioritizes community, affordability, and sustainability. This dynamic and evolving perspective reflects a growing societal desire for equitable, sustainable, and community-oriented living. The "110 ROOMS" project exemplifies how architecture can respond to changing societal needs by offering flexible layouts that accommodate diverse social arrangements, from families to co-living setups. This adaptability not only meets functional requirements but also fosters inclusivity, bringing together diverse groups under one roof. By challenging traditional notions of hierarchy, the project highlights the potential of architecture to create more democratic spaces. As societies evolve, so do the needs and desires of their inhabitants; a truly democratic architecture embraces these shifts, prioritizing flexibility and autonomy to accommodate diverse lifestyles and social dynamics. In doing so, it ensures that everyone, regardless of background or circumstance, feels represented and empowered within the spaces they inhabit. 5.1. Shattering the Spatial Hierarchy MAIO’s project exemplifies a democratic approach by eliminating the traditional hierarchy of spaces in homes. In this design, similar modular rooms are placed throughout the building, empowering residents to customize the layout and functionality of their apartments based on personal preferences and evolving needs. Unlike conventional homes, where living rooms and dining areas are prioritized and service spaces are secondary, this project intends to reach equality by treating every room with equal importance. Flexibility is achieved through the ambiguity of the space and its dimensions, encouraging residents to determine their own spatial usage. This approach not only challenges the norms of residential design but also promotes a sense of autonomy and equality within the home. Figure 9. MAIO Architects. Variation of 110 Rooms Collective Housing at Provença street, CAD Drawing. Digital version. 767x361 pixels and 72 dpi. In: Arquitectura Viva [online]. Figure 10. ASTORGA, Daniel. Abstraction of layout distribution, scale relation between spaces. Made in Adobe Illustrator [drawing]. Digital version. 767x361 pixels and 72 dpi. [Accessed: 16 December 2024]. 5.2.Redefinining Flexibility 11 89 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN movements like the Plataforma de Afectados por la Hipoteca (PAH), which advocated for pushing affordable housing and systemic change in legal reform . This socio-economic transformation, along with broader societal shifts, laid the foundation for a new approach to housing that prioritizes community, affordability, and sustainability. This dynamic and evolving perspective reflects a growing societal desire for equitable, sustainable, and community-oriented living. The "110 ROOMS" project exemplifies how architecture can respond to changing societal needs by offering flexible layouts that accommodate diverse social arrangements, from families to co-living setups. This adaptability not only meets functional requirements but also fosters inclusivity, bringing together diverse groups under one roof. By challenging traditional notions of hierarchy, the project highlights the potential of architecture to create more democratic spaces. As societies evolve, so do the needs and desires of their inhabitants; a truly democratic architecture embraces these shifts, prioritizing flexibility and autonomy to accommodate diverse lifestyles and social dynamics. In doing so, it ensures that everyone, regardless of background or circumstance, feels represented and empowered within the spaces they inhabit. 5.1. Shattering the Spatial Hierarchy MAIO’s project exemplifies a democratic approach by eliminating the traditional hierarchy of spaces in homes. In this design, similar modular rooms are placed throughout the building, empowering residents to customize the layout and functionality of their apartments based on personal preferences and evolving needs. Unlike conventional homes, where living rooms and dining areas are prioritized and service spaces are secondary, this project intends to reach equality by treating every room with equal importance. Flexibility is achieved through the ambiguity of the space and its dimensions, encouraging residents to determine their own spatial usage. This approach not only challenges the norms of residential design but also promotes a sense of autonomy and equality within the home. Figure 9. MAIO Architects. Variation of 110 Rooms Collective Housing at Provença street, CAD Drawing. Digital version. 767x361 pixels and 72 dpi. In: Arquitectura Viva [online]. Figure 10. ASTORGA, Daniel. Abstraction of layout distribution, scale relation between spaces. Made in Adobe Illustrator [drawing]. Digital version. 767x361 pixels and 72 dpi. [Accessed: 16 December 2024]. 5.2.Redefinining Flexibility 11 Flexibility in architectural design is often interpreted in two ways: one approach equates flexibility with the open plan, where barriers are removed to create multifunctional spaces (Moteys 2014, p. 14), while another links flexibility to the regularity and homogeneity of spaces. This second approach emphasizes uniformity in spatial logic that allows for long-term adaptability. As noted in Quaderns 270 by COAC, “Each apartment can be expanded or reduced by adding or removing rooms, adapting to future needs” ([P.] Col·legi d'Arquitectes de Catalunya, 2017, p.83-87). This interpretation ties flexibility to standardization, offering a framework where spaces are not predefined but can evolve with their users. Georges Perec’s (1936 - 1982) ideas on space could be seen in how Maio´s project was designed; as something continuously shaped by the actions and routines of its inhabitants. By designing interconnected rooms without hallways, the project enables residents to adapt spaces to their needs over time—a room might serve as a bedroom today, a study tomorrow, or a living area the next day (Perec 2001, p. 43-49). This inherent flexibility reflects Perec’s idea that spaces gain meaning through their use, rather than through predefined functions. By prioritizing regularity, the design offers an intelligent balance between simplicity and adaptability, accommodating the diverse activities, lifestyles, and changing family structures that characterize modern life. Both approaches to flexibility—open plans and isotropic layouts—respond to the need for adaptable living spaces. However, the 110 Rooms project highlights how homogeneity and regularity can provide a robust framework for spatial transformation. The possibility of adding or removing rooms not only aligns with the theoretical flexibility but also demonstrates its practical application in creating homes that can evolve alongside their occupants’ needs. Figure 11. MAIO. Axonometric Diagrams of 110 Rooms Collective Housing at Provença Street [manipulated proportions of the image by the authors]. Collage drawing. Digital version. 667x3024 pixels and 72 dpi. Barcelona: MAIO, 2016. In: MAIO Architects [online]. 5.2.Challenges of Ambiguity and Uniformity Despite its flexibility, 110 Rooms presents challenges, particularly regarding its ambiguity. The absence of clear spatial roles could overwhelm some residents, especially those accustomed to the comfort of traditional homes. In conventional layouts, each room has a distinct function—living rooms are for socializing, kitchens for cooking, and bedrooms for sleeping. In 110 Rooms, there are no such distinctions, which can create confusion or discomfort for those who find it difficult to make these decisions. Bernard Tschumi (1944-) captures this tension, noting, “Programs have long ceased to be determinate, since they change all the time—while the building is designed, during its 12 96 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN future generations. In this way, development is often prioritized over sustainability. Following World War II, environmental concerns became more pronounced and radical, fueled by the fear that economic growth could jeopardize the survival of both humanity and the planet. This led to a new mode of thinking about development and paved the way for sustainable development as an alternative to unlimited economic growth (Pisani, 2007, 8). This idea can be applied across various themes in architectural analysis; some interpret it through the way buildings manage their materials, construction processes, or even in their capacity to mitigate the ecological footprint they generate. However, when we return to the fundamentals of construction, we understand that the very act of creating an enclosed space for environmental protection inherently entails a disruptive impact on the environment and is, by extension, not necessarily sustainable (Edwards,2010,174), according the Global Alliance for Buildings and Construction, 37% of the worldwide carbon emissions are due to construction industry, making it the largest emitter worldwide . This has a direct implication on the way individuals are influenced and affected in their personal identity and social behavior. Figure 17. Sobers, S. Mutation A-34, mutated plants from a mix of Providence weeds. [Photograph]. Digital version. Unknown size. Barcelona: Sobers, S. 2013. Analyzing the above, and considering that housing forms the foundation of built space—serving the primary purpose of protection—leads us to explore sustainability within a narrative that extends beyond the commonly emphasized ecological aspect. Instead, it appeals to the capacity of spaces to adapt and transform according to the needs of their occupants, making them mutable and dynamic (Figure 17). This adaptability establishes a clear conceptual basis for spatial use that avoids constant environmental degradation. Innovation, then, becomes fundamental to sustainable development, aligning with the ongoing changes demanded by society (Bergmann,2019,49), while having a significant economic impact—a concept deeply tied to sustainability. This perspective encourages us to examine the longevity and permanence of buildings, not through modernist principles where flexibility and modularity were often prioritized over societal well-being, leading to negative socio-cultural consequences and stifling opportunities for reform and innovation. Instead, we focus on durable structures, where material replacement and easily adaptable interior techniques support resilience that meets occupants’ needs. 19 97 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN future generations. In this way, development is often prioritized over sustainability. Following World War II, environmental concerns became more pronounced and radical, fueled by the fear that economic growth could jeopardize the survival of both humanity and the planet. This led to a new mode of thinking about development and paved the way for sustainable development as an alternative to unlimited economic growth (Pisani, 2007, 8). This idea can be applied across various themes in architectural analysis; some interpret it through the way buildings manage their materials, construction processes, or even in their capacity to mitigate the ecological footprint they generate. However, when we return to the fundamentals of construction, we understand that the very act of creating an enclosed space for environmental protection inherently entails a disruptive impact on the environment and is, by extension, not necessarily sustainable (Edwards,2010,174), according the Global Alliance for Buildings and Construction, 37% of the worldwide carbon emissions are due to construction industry, making it the largest emitter worldwide . This has a direct implication on the way individuals are influenced and affected in their personal identity and social behavior. Figure 17. Sobers, S. Mutation A-34, mutated plants from a mix of Providence weeds. [Photograph]. Digital version. Unknown size. Barcelona: Sobers, S. 2013. Analyzing the above, and considering that housing forms the foundation of built space—serving the primary purpose of protection—leads us to explore sustainability within a narrative that extends beyond the commonly emphasized ecological aspect. Instead, it appeals to the capacity of spaces to adapt and transform according to the needs of their occupants, making them mutable and dynamic (Figure 17). This adaptability establishes a clear conceptual basis for spatial use that avoids constant environmental degradation. Innovation, then, becomes fundamental to sustainable development, aligning with the ongoing changes demanded by society (Bergmann,2019,49), while having a significant economic impact—a concept deeply tied to sustainability. This perspective encourages us to examine the longevity and permanence of buildings, not through modernist principles where flexibility and modularity were often prioritized over societal well-being, leading to negative socio-cultural consequences and stifling opportunities for reform and innovation. Instead, we focus on durable structures, where material replacement and easily adaptable interior techniques support resilience that meets occupants’ needs. 19 Thus, if housing is conceived from the outset as flexible and adaptable, it can generate an architecture that engages with sustainability, establishing self-sufficient, optimized spaces while potentially reducing the need for future renovations that demand costly construction processes or materials. This approach minimizes unnecessary energy expenditures, fostering an environment that is centered on the user experience. 7.1. Context relationship and local techniques Part of the facade design objectives for this project centers on preserving and employing techniques rooted in the local context, enabling the use of local labor. According to Rincon, from 40% to 50% of operational costs can be reduced by applying context techniques and materials, at the outset, this may result in a 2% increase in the construction process. However, over the building's entire lifecycle, it could lead to an overall reduction of up to 20% (Katts, Alevantis,Berman,Mills,Perlman, 2013). Additionally, the use of native materials makes a meaningful contribution to sustainability. The building’s facade is a key element, featuring a lime mortar finish—a material historically used for wall plastering due to its durability and resistance over time. Composed of lime, siliceous aggregates, and carbonates (Jaiser, 2024) these eco-mineral materials are sustainable and gentle on facades, serving as both new and rehabilitative coatings. They are also resistant to weather conditions and allow facades to “breathe” due to their water vapor permeability, resulting in extended facade longevity. Figure 18. Lao, M. Mortar finish facade of 110 Rooms by MAIO . [Photograph from archive]. 206 × 604 size and 72dpi. Barcelona: Lao, M .2024 7.2. Program flexibility Highly specialized buildings, while functional in the short term, often become inflexible and obsolete as needs change, leading to unnecessary waste and energy expenditure (Brian Edwards, 2010, 174). To enhance this adaptability, lightweight materials are used for internal partitions, facilitating easy 20 98 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN modifications. Movable walls, doors, and duplicated mechanical elements across various areas further support ongoing functional variation, reducing the overall carbon footprint of the building over time. Figure 19. Astorga, D. Different room configurations, flexible space, by MAIO. [Digital drawing]. 1000x707 pixels and 72 dpi. Barcelona: Astorga, D, 2024. Natural ventilation and lighting—closely tied to comfort as a primary component of spatial sustainability—are also emphasized. Comfort depends on a space’s thermal capacity, humidity, ventilation, and lighting (Brian Edwards, 2010,174-175). With this in mind, the building is designed with two volumes joined by an open space or light and ventilation shaft, ensuring that each unit benefits from natural ventilation and lighting. Additionally, an open space at the rear of the building maximizes air flow and enhances the sense of openness throughout. To further adapt to varying climate conditions, movable enclosures allow spaces to respond flexibly, reducing reliance on mechanical climate systems. It is crucial to recognize that sustainable buildings should avoid being overly deep in plan, excessively tall, or highly irregular in shape. Shorter floor plans optimize natural lighting access and reduce energy loss through the stack effect of ventilation (Brian Edwards, 2010,174-175). In this way, the building effectively claims to address bioclimatic considerations. 21 99 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN modifications. Movable walls, doors, and duplicated mechanical elements across various areas further support ongoing functional variation, reducing the overall carbon footprint of the building over time. Figure 19. Astorga, D. Different room configurations, flexible space, by MAIO. [Digital drawing]. 1000x707 pixels and 72 dpi. Barcelona: Astorga, D, 2024. Natural ventilation and lighting—closely tied to comfort as a primary component of spatial sustainability—are also emphasized. Comfort depends on a space’s thermal capacity, humidity, ventilation, and lighting (Brian Edwards, 2010,174-175). With this in mind, the building is designed with two volumes joined by an open space or light and ventilation shaft, ensuring that each unit benefits from natural ventilation and lighting. Additionally, an open space at the rear of the building maximizes air flow and enhances the sense of openness throughout. To further adapt to varying climate conditions, movable enclosures allow spaces to respond flexibly, reducing reliance on mechanical climate systems. It is crucial to recognize that sustainable buildings should avoid being overly deep in plan, excessively tall, or highly irregular in shape. Shorter floor plans optimize natural lighting access and reduce energy loss through the stack effect of ventilation (Brian Edwards, 2010,174-175). In this way, the building effectively claims to address bioclimatic considerations. 21 Figure 20. Maio. Natural lighting and cross ventilation . [Digital drawing]. 1000x707 pixels and 72 dpi. Barcelona: Maio, 2024. Regarding durability in design, functional simplicity, and the relationship between the two, durability can be defined as a building’s ability to remain in an acceptable condition for multiple generations with no difficult maintenance requirements these practices may include raising the standards or providing and adding new sustainable innovative design solutions, creating a proactive approach (Chanter & Swallow, 2008). While initial investments may be substantial, they yield approximately 20% of cost reductions over time (Katts,Alevantis,Berman,Mills &Perlman,2013). Functional simplicity suggests that complex buildings tend not to remain practical over long periods, and that the degree of user control over the built environment is essential to consider (Brian Edwards, 2010,175). Buildings with legible construction systems facilitate continual improvements, allowing for a clearer understanding of a building’s life cycle and the interventions required to ensure its longevity. By keeping the building’s conceptual, structural, and material design straightforward, basic maintenance becomes easier. The strategic use of durable and resilient materials for the structural framework and facade, combined with lightweight interior elements to promote flexibility, allows for more sustainable management of materials in a simplified way. This clarity also benefits users, offering transparency about the building’s functionality and form. Ultimately, the sustainability of MAIO’s 110 Rooms project is rooted in a building that has the ability to be understood and ‘read’ which makes it legible—one open to change, recognizing that sustainability often involves the intrinsic conditions created by the lives of its inhabitants rather than solely an ecological concept. Housing is understood as a “third skin” essential to human life; like an organic entity, it must adapt, hybridize, expand, and contract in harmony with its occupants. 8. Conclusions The architectural concept of 110 Rooms introduces an approach that aligns with previously outlined principles but invites critical reflection on whether the system can fully adapt to the ultimate needs of its users. While it showcases positive attributes in terms of materiality, sustainability, and adaptive flexibility, certain challenges emerge that prevent these concepts from achieving full integration. Currently, spaces initially conceived as long-term residential environments are frequently repurposed into short-term tourist rentals at elevated market rates. This practice diverges sharply from the original intent of such spaces. Consequently, sustainability and the potential for extended habitation are underutilized. Materials, while meticulously chosen, become a volatile factor—serving as a structural base rather than fostering emotional resonance or establishing a connection to the local context. When spaces are commodified for quick turnover, the poetic aspirations of architectural design lose their capacity to resonate deeply. This brings us back to the premise that spaces are ultimately shaped and defined by their users. However, sensitive, tactile, and emotional values are often reduced to superficial aesthetics, allowing commercial priorities to dominate as the ultimate architectural value. This reality prompts pressing questions about the feasibility of shifting this paradigm. 22 100 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN Following a thorough analysis of the building and its current operation within a primarily commercial framework, several hypotheses emerge regarding the actual intentions behind the concept and design of the project. While the project offers a narrative of innovation and forward-thinking design solutions tailored to the needs of inhabitants, this narrative may ultimately serve as a facade, masking the pursuit of purely economic benefits during the permitting and legal conception stages. The monetary values defining construction and maintenance costs stand in stark contrast to the substantial revenue generated by the project. Based on data from the Arxius Municipal of Barcelona, the project involved an initial investment of approximately €3.5 million, covering land acquisition, construction, and taxes. In today's market, based on the price per square meter, the building could be sold at a profit exceeding 100% of the initial investment. Moreover, through a short-term rental model, with current nightly rates and projections for high and low seasons, the building could generate annual net profits approaching €100,000. The debate here does not focus on the profitability of the project but rather on the means by which these profits are achieved. Initially planned, processed, and marketed as residential spaces, the project’s conceptual framework was aligned with the needs and long-term spatial appropriation of its users. However, this initial proposition appears to have been “fictional,” as the intended uses and economic projections for the space diverged significantly. This raises concerns not only about adherence to pricing, tax, and regulatory frameworks but also about creating a facade around an issue as critical as housing, particularly in a city like Barcelona. Barcelona faces a severe housing crisis, with rental prices reaching up to €17.3 per square meter, according to the City Council. For short-term or tourist rentals, this rate can escalate to a daily figure, as observed in the advertised rental listings for this building. Meanwhile, the purchase price for housing exceeds €7,076.5 per square meter. These conditions stem from factors such as gentrification, the influx of tourists, and the rapid, lucrative opportunities offered by short-term rentals through various online platforms. 23 101 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN Following a thorough analysis of the building and its current operation within a primarily commercial framework, several hypotheses emerge regarding the actual intentions behind the concept and design of the project. While the project offers a narrative of innovation and forward-thinking design solutions tailored to the needs of inhabitants, this narrative may ultimately serve as a facade, masking the pursuit of purely economic benefits during the permitting and legal conception stages. The monetary values defining construction and maintenance costs stand in stark contrast to the substantial revenue generated by the project. Based on data from the Arxius Municipal of Barcelona, the project involved an initial investment of approximately €3.5 million, covering land acquisition, construction, and taxes. In today's market, based on the price per square meter, the building could be sold at a profit exceeding 100% of the initial investment. Moreover, through a short-term rental model, with current nightly rates and projections for high and low seasons, the building could generate annual net profits approaching €100,000. The debate here does not focus on the profitability of the project but rather on the means by which these profits are achieved. Initially planned, processed, and marketed as residential spaces, the project’s conceptual framework was aligned with the needs and long-term spatial appropriation of its users. However, this initial proposition appears to have been “fictional,” as the intended uses and economic projections for the space diverged significantly. This raises concerns not only about adherence to pricing, tax, and regulatory frameworks but also about creating a facade around an issue as critical as housing, particularly in a city like Barcelona. Barcelona faces a severe housing crisis, with rental prices reaching up to €17.3 per square meter, according to the City Council. For short-term or tourist rentals, this rate can escalate to a daily figure, as observed in the advertised rental listings for this building. Meanwhile, the purchase price for housing exceeds €7,076.5 per square meter. These conditions stem from factors such as gentrification, the influx of tourists, and the rapid, lucrative opportunities offered by short-term rentals through various online platforms. 23 Figure 21. Open data Barcelona. RentingSales Price in Barcelona . [Newspaper]. Unknown resolution. Barcelona: Ajuntament de Barcelona , 2021. Figure 22. Velasco. L . Renting crisis in Barcelona Headline. [Newspaper]. Unknown resolution. Barcelona: El País, 2024. Architecture and urban planning, as one of their ultimate purposes, should support the economic development of their contexts without sacrificing the well-being of all who inhabit these spaces. It is not a matter of privileging some over others but rather of creating spaces that promote a general quality of life, balancing the economic, social, and spatial benefits. From the outset, spatial proposals should be honest, rooted in realistic architectural programs. Only through such integrity can the design and its strategies be fully optimized. This discussion raises further questions about the design decisions themselves. Is society prepared to embrace strategies such as spatial flexibility? Or does such flexibility inherently provoke resistance among inhabitants? Conceptual approaches often require significant financial investments that risk underutilization, creating a spatial paradox. This paradox consistently redirects us to the end-user, the evolution of social structures, and the rapid pace of societal transformation. Perhaps the ultimate realization is that architecture equals reality. Regardless of the program, projected uses, materials, or life strategies, architecture must confront its social implications. The path forward may involve designers subordinating their egos and prioritizing the social realities and needs of the context and its prospective inhabitants. 110 Rooms serves as an innovative case study, urging reflection on modernity, the role of the architect in global social change, and whether such architectural proposals can genuinely be revolutionary. The project illustrates how adaptability, materiality and sustainability can converge to address modern urban housing challenges. However, its commercial repurposing reveals systemic obstacles that hinder the potential of such innovative solutions to fully meet their transformative goals. Figure 23. Unknown author. Housing proposal becomes a volatile mercantilist product. [Digital media]. Unknown resolution. Barcelona, 2024. 24 102 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN Disclaimer: Some of the data on the sources used for this article have been withdrawn from the final version in order to ensure protection of the right to honor of the affected enterprises. Bibliography ARTICLE Ajuntament of Barcelona. Més habitatge públic protegit a l’eix verd de l’Eixample. Habitatge. Barcelona. Ajuntament of Barcelona, February 2023. Pinto Campos, B.C. Arquitectura y diseño flexible una revisión para una construcción más sostenible, [online] UPC Tesis de doctorado ,Tesi doctoral, UPC, Departament de Representació Arquitectònica, 2019. DOI 10.5821/dissertation-2117-176433. Chanter, B., & Swallow, P. Building Maintenance Management, 2nd ed. [online] Blackwell, Unknown month, 2008. Corominas Ayala, M. Cerdà i la Barcelona del futur: realitat vs. projecte. D'UR [online]. 1, pp. 144-145, October 2010. [Date of consultation: 16 December 2024]. Available at: http://hdl.handle.net/2099/13683. Du Pisani, J. A. Sustainable Development – Historical Roots of the Concept. Environmental Sciences, 3(2), 83–96. [online] 2006. DOI: 10.1080/15693430600688831 Kavraroğlu, B. Archetypes & Architecture Through the Eyes of Aldo Rossi & Christian Norberg-Schulz. [online] Unknown month, 2023. Maio: 110 habitacions, Barcelona, 2013-2016.Quaderns d’Arquitectura i Urbanisme [online], no. 270, p. 83–88. [Barcelona]: Col·legi d’Arquitectes de Catalunya, 2018. [Accessed: 16 December 2024]. Available at: https://raco.cat/index.php/QuadernsArquitecturaUrbanisme/article/view/342139 Monteys, X. La casa de las habitaciones iguales. Quaderns d'Arquitectura i Urbanisme, 2013, Num 265, pp. 83-88. Till, J., & Schneider, T. Flexible Housing: The Means to the End. Architectural Research Quarterly, 9, pp. 287-296, 2005. DOI: 10.1017/S1359135505000345. Xue, C. Adaptive reuse as sustainable architecture in contemporary Shanghai. Urbanism and Architecture, October, 2018. Available at: https://lup.lub.lu.se/luur/download?func=downloadFile&recordOId=1320800&fileOId=1320801 BOOKS Picon, A. Materiality of Architecture. Minneapolis: University of Minnesota Press, 2020. ISBN 9781517909455. Edwards, B. Rough Guide to Sustainability, 3rd edition. Basel: RIBA Publishing, 2010. ISBN 97885946332. Bauman, Z. Liquid Modernity. Cambridge: Polity Press, 2000. ISBN 0-7456-2409-X. Bergmann, C. Designing Processes a strategy for the future of construction. Basel: Birkhäuser Verlag GmbH, 2019. ISBN 9783035615692 25 103 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN Disclaimer: Some of the data on the sources used for this article have been withdrawn from the final version in order to ensure protection of the right to honor of the affected enterprises. Bibliography ARTICLE Ajuntament of Barcelona. Més habitatge públic protegit a l’eix verd de l’Eixample. Habitatge. Barcelona. Ajuntament of Barcelona, February 2023. Pinto Campos, B.C. Arquitectura y diseño flexible una revisión para una construcción más sostenible, [online] UPC Tesis de doctorado ,Tesi doctoral, UPC, Departament de Representació Arquitectònica, 2019. DOI 10.5821/dissertation-2117-176433. Chanter, B., & Swallow, P. Building Maintenance Management, 2nd ed. [online] Blackwell, Unknown month, 2008. Corominas Ayala, M. Cerdà i la Barcelona del futur: realitat vs. projecte. D'UR [online]. 1, pp. 144-145, October 2010. [Date of consultation: 16 December 2024]. Available at: http://hdl.handle.net/2099/13683. Du Pisani, J. A. Sustainable Development – Historical Roots of the Concept. Environmental Sciences, 3(2), 83–96. [online] 2006. DOI: 10.1080/15693430600688831 Kavraroğlu, B. Archetypes & Architecture Through the Eyes of Aldo Rossi & Christian Norberg-Schulz. [online] Unknown month, 2023. Maio: 110 habitacions, Barcelona, 2013-2016.Quaderns d’Arquitectura i Urbanisme [online], no. 270, p. 83–88. [Barcelona]: Col·legi d’Arquitectes de Catalunya, 2018. [Accessed: 16 December 2024]. Available at: https://raco.cat/index.php/QuadernsArquitecturaUrbanisme/article/view/342139 Monteys, X. La casa de las habitaciones iguales. Quaderns d'Arquitectura i Urbanisme, 2013, Num 265, pp. 83-88. Till, J., & Schneider, T. Flexible Housing: The Means to the End. Architectural Research Quarterly, 9, pp. 287-296, 2005. DOI: 10.1017/S1359135505000345. Xue, C. Adaptive reuse as sustainable architecture in contemporary Shanghai. Urbanism and Architecture, October, 2018. Available at: https://lup.lub.lu.se/luur/download?func=downloadFile&recordOId=1320800&fileOId=1320801 BOOKS Picon, A. Materiality of Architecture. Minneapolis: University of Minnesota Press, 2020. ISBN 9781517909455. Edwards, B. Rough Guide to Sustainability, 3rd edition. Basel: RIBA Publishing, 2010. ISBN 97885946332. Bauman, Z. Liquid Modernity. Cambridge: Polity Press, 2000. ISBN 0-7456-2409-X. Bergmann, C. Designing Processes a strategy for the future of construction. Basel: Birkhäuser Verlag GmbH, 2019. ISBN 9783035615692 25 Braungart, M. Cradle to cradle (De la cuna a la cuna). Rediseñando la forma en que hacemos las cosas. Madrid [etc.]: McGraw-Hill, 2005 Brand, S. How Buildings Learn: What Happens After They Are Built. Barcelona: Viking Press - Penguin Books, 1995. ISSN 2014-4601. Larsen, H. G.. Barcelona: Housing crisis and urban activism. Contemporary Co-housing in Europe. (2020) ISBN 9781138325913 Hicks, JR.Value and capital: an inquiry into some fundamental principles of economic theory. Oxford:Clarendon Press. Unknown month, 1941.ISBN 0198282699 Kronenburg, R. Flexible: Arquitectura que integra el cambio. Barcelona: Art Blume July, 2007. ISBN 9788498011470 Monteys, X. La Habitación más allá de la sala. Barcelona: Editorial Gustavo Gili, 2014. ISBN 9788425228162. Norberg-Schulz, C. Genius loci: Towards a phenomenology of architecture. New York, NY: Rizzoli. (1980) Pallasmaa, J. The Eyes of the Skin. Londres: Wiley-Academy, 2005. ISBN 0470015799 Perec, G. La habitación. A: Perec, G. Especies de espacios. 2nd ed. Barcelona: Literatura y Ciencia, S. L., 2001, pp. 43-49. ISBN 84-95776-07-3. Rostow W. W. The world economy. History and prospect. London: Macmillan July, 1998 . .ISBN 0333248392 Sobrequés i Callicó, J. Història de Barcelona. Barcelona: Plaza & Janes Editores. (2008). ISBN 9788401379826 Van Zon H. Geschiedenis & duurzame ontwikkeling. Duurzame ontwikkeling in historisch perspectief: enkele verkenningen. Netwerk Duurzaam Hoger Onderwijs, Netherlands 2002. ISBN 9077004041, 9789077004043 Viray, E. Material Design Informing Architecture by Materiality . Basel: Birkhäuser GmbH, 2011. ISBN 9783034600347. Wong, L. Adaptive Reuse in Architecture: A Typological Index. Birkhäuser, Germany 2023.ISBN 9783035625639 WEBSITE Architectuul. Team 10 [online]. Unknown edition. Unknown place of publication: Architectuul, Unknown date of publication. [Date of consultation: December 16, 2024]. Available at: https://architectuul.com/architect/team-10 Jaiser. Rehabilitación de fachadas en Barcelona. [online]. Fachadas Barcelona, [Date of consultation: 4 October 2024]. Available at: https://fachadas-rehabilitacion.net/rehabilitacion-de-fachadas-en-barcelona/. Kats, G., Alevantis, L., Berman, A., Mills, E., & Perlman, J. The Costs and Financial Benefits of Green Buildings: A Report to California’s Sustainable Building Task Force. [online]. 2013. [Consultation: 18 November 2024]. Available at: https://www.scirp.org/reference/ReferencesPapers?ReferenceID=1754115. MAIO – Architectural. MAIO Architectes. [online]. Barcelona: MAIO, 2024. [Compiled: 17 November 2024]. Available at: https://www.maio-architects.com/project/110-rooms/. Gómez-Moriana, R. In Criticalista. [online]. [Date of consultation: 12 November 2024]. Available at: https://criticalista.com/2020/04/01/110-rooms-22-flats-and-one-good-idea/. 26 104 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 ASTORGA, Daniel, CARRERA, Valeria, GONZALEZ, María Jacinta, KANUKOVA, Aleksandra, LAO, Manqi APRÈN Rincón, E. Comparación de costos de construcción tradicional vs. construcción incluyendo criterios leed: caso edificio estrato. [online]. [Date of consultation: 18 November 2024]. Available at: https://repository.upb.edu.co/handle/20.500.11912/183. LIST OF FIGURES Figure 1. Maio. 22 Dwellings Housing Block in Barcelona [photograph]. Digital version. 1777 x 2208 pixels and 72 dpi. Barcelona: Maio, 2016 Figure 2. Fornari, L . 22 Internal arrangements for 50x50 variations, based on Mies Van der Rohe drawings [drawings]. Digital version. 3300x 840 pixels and 72 dpi. Brasil : Arquitextos, 2011 Figure 3. La Borda. Unknown [digital drawing]. 976x768 pixels and 300 dpi size. Digital version. Barcelona: Laco, 2018 Figure 4. Unknown author. View of the facade and dwelling type pre-existing [photograph from archive]. Unknown resolution. Barcelona: Ajuntament of Barcelona , 2016 Figure 5. Lao, M . Actual Facade [photograph from archive]. 3024 × 4032 size and 300 dpi . Barcelona: Lao, 2024 Figure 6. Cerdà, I. Barcelona's surroundings plan before Plan Cerda. [Ink Drawing on paper]. 1984 × 1120 size and 72 dpi. Barcelona: BCNROC, 1885. Figure 7. Unknown author. The Arles amphitheater as a medieval housing community vs The Arles amphitheater today as a tourist site. [Photograph ]. Unknown size. Barcelona: Wong, L, 2022 Figure 8. Unknown author. Different housing typologies, and relation with sense of belonging with the context . [ Photograph ]. Unknown size. Germany: Norberg-Schulz, 1890. Figure 9. MAIO Architects. Variation of 110 Rooms Collective Housing at Provença street, CAD Drawing. Digital version. 767x361 pixels and 72 dpi. In: Arquitectura Viva [online]. Figure 10. ASTORGA, Daniel. Abstraction of layout distribution, scale relation between spaces. Made in Adobe Illustrator [drawing]. Digital version. 767x361 pixels and 72 dpi. [Accessed: 16 December 2024]. Figure 10. ASTORGA, Daniel. Abstraction of layout distribution, scale relation between spaces. Made in Adobe Illustrator [drawing]. Digital version. 767x361 pixels and 72 dpi. Available at: https://arquitecturaviva.com/works/22-housing-in-calle-provenca [Accessed: 16 December 2024]. Figure 11. MAIO. Axonometric Diagrams of 110 Rooms Collective Housing at Provença Street. Collage drawing. Digital version. 667x3024 pixels and 72 dpi. Barcelona: MAIO, 2016. In: MAIO Architects [online]. Available at: https://www.maio-architects.com/project/110-rooms/ [Accessed: 16 December 2024]. Figure 12. MAIO. Spatial Predetermination of Public Areas Diagram of 110 Rooms Collective Housing at Provença Street [drawing]. [Digital version]. 1000x1415 pixels and 72 dpi. [Barcelona]: MAIO, 2016. Figure 13. Lao, M. Internal View of 110 Rooms Collective Housing at Provença street [photograph]. Digital version. 1000x1415 pixels and 72 dpi. Barcelona: Lao, M, 2024. Figure 14. Unknown author. Textile motif of the façade sgraffito [photograph from archive]. Unknown resolution. Barcelona: Ajuntament of Barcelona , 2016 27 105 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues From concept to practice: the flexible design of MAIO’s 110 rooms APRÈN Rincón, E. Comparación de costos de construcción tradicional vs. construcción incluyendo criterios leed: caso edificio estrato. [online]. [Date of consultation: 18 November 2024]. Available at: https://repository.upb.edu.co/handle/20.500.11912/183. LIST OF FIGURES Figure 1. Maio. 22 Dwellings Housing Block in Barcelona [photograph]. Digital version. 1777 x 2208 pixels and 72 dpi. Barcelona: Maio, 2016 Figure 2. Fornari, L . 22 Internal arrangements for 50x50 variations, based on Mies Van der Rohe drawings [drawings]. Digital version. 3300x 840 pixels and 72 dpi. Brasil : Arquitextos, 2011 Figure 3. La Borda. Unknown [digital drawing]. 976x768 pixels and 300 dpi size. Digital version. Barcelona: Laco, 2018 Figure 4. Unknown author. View of the facade and dwelling type pre-existing [photograph from archive]. Unknown resolution. Barcelona: Ajuntament of Barcelona , 2016 Figure 5. Lao, M . Actual Facade [photograph from archive]. 3024 × 4032 size and 300 dpi . Barcelona: Lao, 2024 Figure 6. Cerdà, I. Barcelona's surroundings plan before Plan Cerda. [Ink Drawing on paper]. 1984 × 1120 size and 72 dpi. Barcelona: BCNROC, 1885. Figure 7. Unknown author. The Arles amphitheater as a medieval housing community vs The Arles amphitheater today as a tourist site. [Photograph ]. Unknown size. Barcelona: Wong, L, 2022 Figure 8. Unknown author. Different housing typologies, and relation with sense of belonging with the context . [ Photograph ]. Unknown size. Germany: Norberg-Schulz, 1890. Figure 9. MAIO Architects. Variation of 110 Rooms Collective Housing at Provença street, CAD Drawing. Digital version. 767x361 pixels and 72 dpi. In: Arquitectura Viva [online]. Figure 10. ASTORGA, Daniel. Abstraction of layout distribution, scale relation between spaces. Made in Adobe Illustrator [drawing]. Digital version. 767x361 pixels and 72 dpi. [Accessed: 16 December 2024]. Figure 10. ASTORGA, Daniel. Abstraction of layout distribution, scale relation between spaces. Made in Adobe Illustrator [drawing]. Digital version. 767x361 pixels and 72 dpi. Available at: https://arquitecturaviva.com/works/22-housing-in-calle-provenca [Accessed: 16 December 2024]. Figure 11. MAIO. Axonometric Diagrams of 110 Rooms Collective Housing at Provença Street. Collage drawing. Digital version. 667x3024 pixels and 72 dpi. Barcelona: MAIO, 2016. In: MAIO Architects [online]. Available at: https://www.maio-architects.com/project/110-rooms/ [Accessed: 16 December 2024]. Figure 12. MAIO. Spatial Predetermination of Public Areas Diagram of 110 Rooms Collective Housing at Provença Street [drawing]. [Digital version]. 1000x1415 pixels and 72 dpi. [Barcelona]: MAIO, 2016. Figure 13. Lao, M. Internal View of 110 Rooms Collective Housing at Provença street [photograph]. Digital version. 1000x1415 pixels and 72 dpi. Barcelona: Lao, M, 2024. Figure 14. Unknown author. Textile motif of the façade sgraffito [photograph from archive]. Unknown resolution. Barcelona: Ajuntament of Barcelona , 2016 27 Figure 15. Lao, M. Different materials in the interior of the ground floor. [photograph]. Digital version. 1000x1415 pixels and 72 dpi. Barcelona: Lao, M, 2024. Figure 16. Lao, M. Different aspects relative to material in architectural spaces. [Collage]. Digital version. 206 × 604 size and 72dpi. Barcelona: Lao, M. 2024. Figure 17. Sobers, S. Mutation A-34, mutated plants from a mix of Providence weeds. [Photograph]. Digital version. Unknown size. Barcelona: Sobers, S. 2013. Figure 18. Lao, M. Mortar finish facade of 110 Rooms by MAIO . [Photograph from archive]. 206 × 604 size and 72dpi. Barcelona: Lao, M .2024 Figure 19. Astorga, D. Different room configurations, flexible space, by MAIO. [Digital drawing]. 1000x707 pixels and 72 dpi. Barcelona: Astorga, D, 2024 Figure 20. Maio. Natural lighting and cross ventilation . [Digital drawing]. 1000x707 pixels and 72 dpi. Barcelona: Maio, 2024. Figure 21. Open data Barcelona. RentingSales Price in Barcelona . [Newspaper]. Unknown resolution. Barcelona: Ajuntament de Barcelona , 2021. Figure 22. Velasco. L . Renting crisis in Barcelona Headline. [Newspaper]. Unknown resolution. Barcelona: El País, 2024. Figure 23. Unknown author. Housing proposal becomes a volatile mercantilist product. [Digital media]. Unknown resolution. Barcelona, 2024. 28 112 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN 1.Circulation out In this section we will take into consideration Louis Kahn’s (1901-1974) definition of servant and served space to understand the relationship between dwellings and common circulations in collective housing designs. We will focus on the consolidation of the vertical nucleus as a free standing element separated from the living units, while comparing projects of Richard Rogers (1933-2011), MBM Arquitectes (1951), and Studio Bruther (2007) with La Carboneria. Vertical circulation is a crucial part in architecture. It is the basis of collective housing layouts, since dwelling takes place at upper levels that rely on it. Steven D. Edgett defines it in the section Vertical circulation of book Building Design and Construction Handbook (2004) “Vertical circulation of traffic in a multistory building is the key to successful functioning of the design, both in normal use and in emergencies. In fact, location of elevators or stairs strongly influences the floor plan. So in the design of a building, much thought should be given to the type of vertical circulation to be provided, number of units needed, and their location, arrangement, and design.” Things turn to be more important, when renovating an old collective housing such as La Carboneria. It is a challenge and a chance to rethink the relationship between vertical circulation and the existing building, finding a strategy to increase the lives of residents. 1.1 Concept of Circulation Out In the modern and contemporary period of architecture, the servant and served space is a topic to be discussed and a tool to design with. Among all the architects, Louis Kahn showed great interest in Scottish Castles and developed his servant and served space theory on his research of them. In it he Fig. 4. British Castle Floor Plan Sketches by Kahn. F.e: Brownlee, David B., and David G. De Long. Louis I. Kahn: In the Realm of Architecture. Los Angeles: Museum of Contemporary Art, Rizzoli, 1991. 68. 113 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN 1.Circulation out In this section we will take into consideration Louis Kahn’s (1901-1974) definition of servant and served space to understand the relationship between dwellings and common circulations in collective housing designs. We will focus on the consolidation of the vertical nucleus as a free standing element separated from the living units, while comparing projects of Richard Rogers (1933-2011), MBM Arquitectes (1951), and Studio Bruther (2007) with La Carboneria. Vertical circulation is a crucial part in architecture. It is the basis of collective housing layouts, since dwelling takes place at upper levels that rely on it. Steven D. Edgett defines it in the section Vertical circulation of book Building Design and Construction Handbook (2004) “Vertical circulation of traffic in a multistory building is the key to successful functioning of the design, both in normal use and in emergencies. In fact, location of elevators or stairs strongly influences the floor plan. So in the design of a building, much thought should be given to the type of vertical circulation to be provided, number of units needed, and their location, arrangement, and design.” Things turn to be more important, when renovating an old collective housing such as La Carboneria. It is a challenge and a chance to rethink the relationship between vertical circulation and the existing building, finding a strategy to increase the lives of residents. 1.1 Concept of Circulation Out In the modern and contemporary period of architecture, the servant and served space is a topic to be discussed and a tool to design with. Among all the architects, Louis Kahn showed great interest in Scottish Castles and developed his servant and served space theory on his research of them. In it he Fig. 4. British Castle Floor Plan Sketches by Kahn. F.e: Brownlee, David B., and David G. De Long. Louis I. Kahn: In the Realm of Architecture. Los Angeles: Museum of Contemporary Art, Rizzoli, 1991. 68. defined servant spaces as support areas of served spaces. Common examples of service spaces Fig.5. Clear plans show the relationship between bathrooms, storage rooms, and utility shafts. Even though servant spaces are not the primary areas of a building, they are essential for the functioning of it. On the other hand, served spaces are where the building's main functions take place. In residential buildings, these are exemplified by spaces such as bedrooms and living rooms. Louis Kahn used this theory to organise his designs. In his article “Order in Architecture” (1957), he mentioned that “The Trenton Bath House (1955) is derived from a concept of space order in which the hollow columns supporting the pyramidal roofs distinguish the spaces that serve from those being served.”1In this simple house, we can see how his architectural philosophy began to crystallize, especially the servant and the served spaces. The floor plan is very clear, four rooms enclose a courtyard, and each of the rooms is supported by four square pillars, which are the space for toilets and other infrastructure. What’s more, in his project for the Richards Medical Research Laboratories (1965), he developed this relationship and located the services facilities outside of the laboratory spaces. In his book “Louis I. Khan” (2005) Robert Mccarter describes this project as a “A breakthrough for Kahn, this design saw his first clear articulation of the concept of ‘servant’ and ‘served’ spaces, in which the main laboratory spaces occupy the cantilevered glazed corners, or ‘studio’ as Kahn called them, while the services are housed in independently structured vertical shafts standing outside the laboratory spaces.”2. Mccarter also thinks this breakthrough was inspired by the Larkin Building (1904-1906) of Frank Lloyd Wright (1867-1959), a possible example of dealing with the servant and served spaces before Kahn’s theoretical contribution. However, Kahn is the earliest architect who clearly mentioned this concept and used it systematically in architecture design. His ideas influenced many architects later, for example Richard Rogers (1933-2011). Fig. 5. Clear plans show the relationship between servant spaces and the served spaces in Louis Kahn’s architecture. F.e: The plans of the Trenton Bath House and the Richards Medical Research Laboratories. 2Louis I. Kahn, Robert Mccarter, 2005, 124. 1Kahn, L. (1957). Order in Architecture. Perspecta,4, 58–63. 114 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN Richard Rogers developed this relationship further. In Lloyd’s of London (1986), Richard Rogers developed his architecture idea in an office building, which usually have more divided spaces than culture building. Facing the challenge of creating an architecture which has a wonderful interior space experience with numbers of typical office spaces, Richard Rogers followed the same guidelines he used for the Pompidou center (1977), the Lloyd’s of London building appears as if it has been turned inside out. All the main vertical staircases and washrooms are suspended outside the building, leaving large areas of ground with an atrium which are the served spaces. In the Lloyd’s of London, servant spaces are no longer neglected areas in the corners. Instead, they are placed on the façades, becoming the primary elements. The repetition of these singular elements in horizontal and vertical directions creates a strong sense of order which defines the building's image and serves as the architect's design language. The servant spaces not only enhance their aesthetic value but have also become the most important aspect of the architectural identity. 1.2 Circulation out in collective housing When facing collective housing, the relationship between servant and served space is changed. In public architecture, like museums and office buildings, the basic unit is the exhibition space and working space. However, in collective housing, the basic unit is a single apartment, consisting of a bedroom, living room, kitchen, washroom and other space for storage and infrastructure. That means, in public architecture, users only have their basic space for the use of the building's function. They share all the public spaces. For example, office workers share meeting rooms, washrooms, restaurants, and other public spaces with other workers, but in most collective housing projects, residents only share circulations between them. The most fundamental relationship in the system of collective housing is the combination of residential units and circulation. In Louis Kahn’s Esherick house design (1961), he treated shower, dressing, kitchen, staircase, and washroom as servant space and organized them into modules, arranging service and served spaces alternately. However, when in a higher hierarchy of collective housing, resident’s units become the served spaces, while the circulation becomes the servant space. From the aforementioned cases, we can find that if we put the servant spaces outside of the served spaces, the served spaces will be freely organized and formed, therefore it becomes more flexible and adaptive. In the case of Edificio de Viviendas Escorial (1952-1955), MBM Arquitectes (1951) chose to locate the vertical circulation outside the main building, connecting it with corridors that appear every two levels. From the abstraction drawing below, we can very clearly see the clear relationship between the vertical circulation, corridors and residential apartments, a divided 115 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN Richard Rogers developed this relationship further. In Lloyd’s of London (1986), Richard Rogers developed his architecture idea in an office building, which usually have more divided spaces than culture building. Facing the challenge of creating an architecture which has a wonderful interior space experience with numbers of typical office spaces, Richard Rogers followed the same guidelines he used for the Pompidou center (1977), the Lloyd’s of London building appears as if it has been turned inside out. All the main vertical staircases and washrooms are suspended outside the building, leaving large areas of ground with an atrium which are the served spaces. In the Lloyd’s of London, servant spaces are no longer neglected areas in the corners. Instead, they are placed on the façades, becoming the primary elements. The repetition of these singular elements in horizontal and vertical directions creates a strong sense of order which defines the building's image and serves as the architect's design language. The servant spaces not only enhance their aesthetic value but have also become the most important aspect of the architectural identity. 1.2 Circulation out in collective housing When facing collective housing, the relationship between servant and served space is changed. In public architecture, like museums and office buildings, the basic unit is the exhibition space and working space. However, in collective housing, the basic unit is a single apartment, consisting of a bedroom, living room, kitchen, washroom and other space for storage and infrastructure. That means, in public architecture, users only have their basic space for the use of the building's function. They share all the public spaces. For example, office workers share meeting rooms, washrooms, restaurants, and other public spaces with other workers, but in most collective housing projects, residents only share circulations between them. The most fundamental relationship in the system of collective housing is the combination of residential units and circulation. In Louis Kahn’s Esherick house design (1961), he treated shower, dressing, kitchen, staircase, and washroom as servant space and organized them into modules, arranging service and served spaces alternately. However, when in a higher hierarchy of collective housing, resident’s units become the served spaces, while the circulation becomes the servant space. From the aforementioned cases, we can find that if we put the servant spaces outside of the served spaces, the served spaces will be freely organized and formed, therefore it becomes more flexible and adaptive. In the case of Edificio de Viviendas Escorial (1952-1955), MBM Arquitectes (1951) chose to locate the vertical circulation outside the main building, connecting it with corridors that appear every two levels. From the abstraction drawing below, we can very clearly see the clear relationship between the vertical circulation, corridors and residential apartments, a divided staircase box, a long continuous corridor and the same repeated apartments. The division of vertical circulation and main building enables a better connection between the architecture and surrounding spaces. Different from the inside vertical circulation, people need to walk through the surrounding spaces and the connecting bridge which can improve the experience when residents go back or leave home. What’s more, the outside vertical circulation, which has a pure volume, itself can be a visual sparkle, a beauty symbol of urban level. Fig. 6. Clear volume relationship between the vertical circulation and the main building. F.e: Perspective view and the plan drawing of the Edificio de Viviendas Escorial In the Maison Julie-Victoire Daubié (2018), Studio Bruther (2007) put all the vertical circulation in the middle of two volumes, one in triangle for staircase, one is a spiral staircase and another cuboid volume for elevator. These three pure vertical circulations connect to a trapezoidal platform between both sides volumes, along with corridors on either side of the platform, which are the horizontal circulation. With all the circulation divided, the layout of housing can be organized freely. In the Maison Julie-Victoire Daubié, the architect repeated the residential units in a regular structure form. This simple and orderly structure allows the building to have a fully transparent and ordered all-glass façade. At the same time, the clear functional organization in volumes, combined with the façade, shapes the building's overall clean and dynamic face. 116 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN Fig. 7. Clean facade and level plan with three circulation cores, provides clear and efficient functional organization, conducive to creating a transparent façade. F.e: The façade view and plan drawing. 1.3 Circulation out in La Carbonería Through the analysis of the aforementioned cases, we can observe that separating circulation spaces from residential spaces achieves flexible layout designs for the main building’s residential plans. This allows for free structural arrangements and enhances the transparency of the building’s façade, which was the main aim the Office for Strategic Spaces(1999- ) wanted to achieve while renovating La Carboneria. Before renovation, the back facade of the original building was facing an enclosed triangular patio. Due to a lack of use and poor accessibility, the patio was in an almost abandoned state. However, as we have stated before, this back facade was originally designed to be the main facade facing an angled street with fresh air and tall trees, and that was what the architectural studio in charge of the renovation wanted to reminisce about. In order to achieve this, the studio reorganized the structure and redesigned the residential layout for a more open and transparent rear façade, strengthening and revitalizing the connection between the building and the patio as they relocated the original vertical circulation core in this courtyard. According to the original plans, the vertical core was in the center of La Carboneria, only consisting of a three-flight staircase.(Fig. 3 in the introduction part) In this period, each floor consists of four apartments arranged around a staircase, with two apartments situated along the building's depth. This layout resulted in a long dividing wall in the original building, separating the front and back. The Office for Strategic Spaces relocated the triple-flight staircase and corridors, which previously 117 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN Fig. 7. Clean facade and level plan with three circulation cores, provides clear and efficient functional organization, conducive to creating a transparent façade. F.e: The façade view and plan drawing. 1.3 Circulation out in La Carbonería Through the analysis of the aforementioned cases, we can observe that separating circulation spaces from residential spaces achieves flexible layout designs for the main building’s residential plans. This allows for free structural arrangements and enhances the transparency of the building’s façade, which was the main aim the Office for Strategic Spaces(1999- ) wanted to achieve while renovating La Carboneria. Before renovation, the back facade of the original building was facing an enclosed triangular patio. Due to a lack of use and poor accessibility, the patio was in an almost abandoned state. However, as we have stated before, this back facade was originally designed to be the main facade facing an angled street with fresh air and tall trees, and that was what the architectural studio in charge of the renovation wanted to reminisce about. In order to achieve this, the studio reorganized the structure and redesigned the residential layout for a more open and transparent rear façade, strengthening and revitalizing the connection between the building and the patio as they relocated the original vertical circulation core in this courtyard. According to the original plans, the vertical core was in the center of La Carboneria, only consisting of a three-flight staircase.(Fig. 3 in the introduction part) In this period, each floor consists of four apartments arranged around a staircase, with two apartments situated along the building's depth. This layout resulted in a long dividing wall in the original building, separating the front and back. The Office for Strategic Spaces relocated the triple-flight staircase and corridors, which previously occupied a significant portion of the building’s interior, to the corner of the courtyard.(Fig. 3 in the introduction part) As a result, the area originally taken up by the circulation spaces was successfully freed up. The previously cramped and narrow interior spaces became more spacious and brighter, while the relationship between the patio and the street façade in the floor plan was also improved and clarified. The transformation of the interior is also reflected on the building’s façade, particularly the patio-facing façade. The adjustments to the floor plan allowed this façade to appear as its original look—large floor-to-ceiling arched like windows, as what Bruther achieved in their Maison Julie-Victoire Daubié. The experience when you use the vertical circulation also improves. As the case of Edificio de Viviendas Escorial, the back and leaving experience of La Carboneria becomes varied and interesting, the residents need to go through the patio, the new circulation and the connecting bridges to go into their own apartments. When you walk upstairs in the original walled staircase, the only thing you could feel is the endless walls and stairs. However, in the new elevator and staircase, you can enjoy the patio with its bridges and you can interact with people. Just as Graham Stirk (1957- ) says about the Lloyd’s of London’s external circulations in the book Richard Rogers: Inside Out (2013), ” We turn an uplifting moment into an uplifting experience.” The new façade design expresses the architect’s intent to present the building as its original design vision. The open and transparent façade, which reconnects the patio and the building, the vertical circulation cores positioned along the boundary of the unrealized planned street, and the revitalized patio all convey this design intent. 1.4 Bridge as horizontal circulation Unlike the typical circulation organizations in collective housing, which have external vertical circulation cores combined with a repetition of the same corridors in each floor, La Carboneria adopts a richer circulation system. By placing the vertical circulation core at the corner of the patio and connecting it to the residential units in the main building on each floor with bridges, the building achieves a complete externalization of circulation spaces. The servant spaces are completely divided with the served spaces. The patio, as an outdoor space, contains all the circulation requirements. As a result, the interior of the building only holds all the residential units. This strategy shows a new attitude of the connecting bridges, as horizontal elements of spatial articulation repeated in different locations on the vertical dimension, creating a visual sparkle in what was previously an empty patio. It can be a new type of the relationship between the apartment units and circulations in collective housing. Horizontal circulations, usually corridors, just served as a transportation function in most cases, they are generally repeated in every level, with no change. However, in La Carboneria, the changing bridges are not just like these corridors, they offer different 118 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN experiences in the different levels. They are peacefully suspended in the large void patio with their irregular forms. In this in-between patio, the bridges are the only existence. Their existence not only preserves the integrity of the in-between patio, but also emphasizes the voidness of it, improving its atmosphere, while turning it into a meaningful and comfortable experience. These bridges, as a new symbol of collective spirit and identity, changed the patio with aesthetic expression, transforming it into a defining feature of the new La Carboneria. 119 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN experiences in the different levels. They are peacefully suspended in the large void patio with their irregular forms. In this in-between patio, the bridges are the only existence. Their existence not only preserves the integrity of the in-between patio, but also emphasizes the voidness of it, improving its atmosphere, while turning it into a meaningful and comfortable experience. These bridges, as a new symbol of collective spirit and identity, changed the patio with aesthetic expression, transforming it into a defining feature of the new La Carboneria. 2. Thresholds, movement and time in common circulations Thresholds are spaces where the transition amidst the inside and the outside, the private and the public, the city and the house, takes place. In this section we will discuss the concept of in-between spaces in La Carboneria’s common circulations, through the writings of Patrizio M. Martinelli (1970) and Till Boettger (1974). Furthermore, we will explore the relationship between these transitional spaces, movement, and time, while we examine the interviews carried out by Ila Beka (1968) and Louise Lemoine (1981) to some of the most influential architects in the phenomenological field. 2.1 Space as a motion experience One of the most common definitions of architecture can be considered to be the art of designing and building spaces, but if we use a phenomenological approach, we would actually talk about designing and living experiences, rather than simple places (Holl, Pallasmaa, Perez Gomez, 1994). If we follow the writings of Patrizio M. Martinelli and Till Boettger, to find a middle ground, we would have to define different categorizations of space. On one hand, in Inside the Façade: The Inhabited Space Between Domestic and Urban Realms (2019) Patrizio M. Martinelli makes the distinction between space as a container and space as a constellation of objects. In the first case, space is a self-contained entity with defined boundaries, “a container that exists even if not filled with objects”. In the second case, space consists of the relationships and distribution of a group of objects or elements, “I would call “disposition” the act of creating space.” But, if we wanted to put La Carboneria’s intervention in only one of these categories, it would not quite fit. The triangular existing patio has clear physical limits, as it is enclosed between two parti walls and the own building facade. Nevertheless, the new project is crafted as the addition of different elements and the links between them: the stairs, the pathways, the vegetation, the structure, and the windows that also work as doorways. 120 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN Fig. 8. An addition of elements listed in order: the stairs, the sun light reflection system of the structure covering the parti wall, the new interior facade, the pathways. On the other hand, in the first chapter of Threshold Spaces: Transitions in Architecture: Analysis and Design Tools (2014) Till Boettger divides spaces from a different point of view, he states that there are presented spaces and experienced spaces. The presented space is similar to what Martinelli called container space, as it is understood as a static system of elements where the focus is on aesthetics, proportions, and geometry. Whereas, the experienced space follows a Pallasmaan atmospheric path (Holl, Pallasmaa,2014), it highlights the human perception of a place, it “results from the dynamics between individual, subject, and presented space.”, Boettger states. Therefore, there is no space, if there is no one to experience it. In La Carboneria, there is a clear intention of creating an experience. The Office for Strategic Spaces understood the common stair and circulations, not as a mere functional element that needed to optimize surface and resources, but as the heart of the collective housing. The pathways and bridges brake and change direction to create a promenade, a form of narrative for the users. Hence, following both authors, we understand the threshold in La Carboneria as the relationship between the dynamic of the elements in space and how people perceive it. However, “The atmospheres of a space can only be perceived by strolling through it or by immersion in it. [...] the perceptual process is dependent on movement in the space within a particular period of time.”, as Boettger says. So, to talk about perception we need to talk about movement, and to talk about movement we need to talk about time. Under this light, it is not a surprise that the key element of La Carboneria’s in-between space is a circulation nucleus, an element that has a dynamic nature. 2.2 Time and narrative in thresholds Thresholds appear to interrupt boundaries, they are an invitation to cross from one side to the other, from the public universe to the private reign. However, in collective housing, there is a gradient of privacy to be considered, there is the city, the collective space, and then the house. Evenmore, there are also transitions in-between those three stages, and as these limits become more complex and ambiguous, boundaries are no longer a stand alone element, but they thicken and become a continuous space, in other words, they turn into a threshold. In La Carboneria, the threshold space is present not as an area, but as a three dimensional promenade. From the ground floor, the circulation structure appears almost as a sculpture, and in a baroque fashion, it can not be fully understood without moving around it. There is almost no straight line to follow, the bridges are not parallel to the architecture, the columns of the stairs follow a “V” shape, and the columns of the green wall reach the ground as buttresses. The dynamism of the lines 121 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN Fig. 8. An addition of elements listed in order: the stairs, the sun light reflection system of the structure covering the parti wall, the new interior facade, the pathways. On the other hand, in the first chapter of Threshold Spaces: Transitions in Architecture: Analysis and Design Tools (2014) Till Boettger divides spaces from a different point of view, he states that there are presented spaces and experienced spaces. The presented space is similar to what Martinelli called container space, as it is understood as a static system of elements where the focus is on aesthetics, proportions, and geometry. Whereas, the experienced space follows a Pallasmaan atmospheric path (Holl, Pallasmaa,2014), it highlights the human perception of a place, it “results from the dynamics between individual, subject, and presented space.”, Boettger states. Therefore, there is no space, if there is no one to experience it. In La Carboneria, there is a clear intention of creating an experience. The Office for Strategic Spaces understood the common stair and circulations, not as a mere functional element that needed to optimize surface and resources, but as the heart of the collective housing. The pathways and bridges brake and change direction to create a promenade, a form of narrative for the users. Hence, following both authors, we understand the threshold in La Carboneria as the relationship between the dynamic of the elements in space and how people perceive it. However, “The atmospheres of a space can only be perceived by strolling through it or by immersion in it. [...] the perceptual process is dependent on movement in the space within a particular period of time.”, as Boettger says. So, to talk about perception we need to talk about movement, and to talk about movement we need to talk about time. Under this light, it is not a surprise that the key element of La Carboneria’s in-between space is a circulation nucleus, an element that has a dynamic nature. 2.2 Time and narrative in thresholds Thresholds appear to interrupt boundaries, they are an invitation to cross from one side to the other, from the public universe to the private reign. However, in collective housing, there is a gradient of privacy to be considered, there is the city, the collective space, and then the house. Evenmore, there are also transitions in-between those three stages, and as these limits become more complex and ambiguous, boundaries are no longer a stand alone element, but they thicken and become a continuous space, in other words, they turn into a threshold. In La Carboneria, the threshold space is present not as an area, but as a three dimensional promenade. From the ground floor, the circulation structure appears almost as a sculpture, and in a baroque fashion, it can not be fully understood without moving around it. There is almost no straight line to follow, the bridges are not parallel to the architecture, the columns of the stairs follow a “V” shape, and the columns of the green wall reach the ground as buttresses. The dynamism of the lines together with the layering of elements, create a narrative sequence for the users to walk through. The pathways do not follow the most direct route from one point to the other, but rather propose different points of views according to the level and side of the building they are in. The intervention becomes its own agora within the building, it invites the users to turn into flaneurs (Benjamin, 1982) and roam through it, its bridges and platforms allow neighbors to see and talk to one another. Fig. 9. The circulation bridges shown as a three dimensional promenade In consequence, even when the threshold in La Carboneria holds the staircase, one of the most pragmatic elements in a building, functionality is not the main objective. There is a clear aim to create a new rhythm, a different pace from the public street. Till Boettger says, “obstacles are set up with the intention of slowing down the approach in the planned spatial sequence.”. The intervention is not only a transitional space but also a transitional moment in the inhabitants life. In threshold spaces, the journey from one place to another needs to follow a precise speed, it needs to offer the users enough time to feel they are in a transitional state, without being monotonous. The hustle of the streets, the traffic faced to get back home, the conflicts at work, should somehow be left behind as we walked through the in-between space that guides us towards our home. The senses need to be ignited to make us present and aware of our surroundings in a subtle manner. The design should take us gently from one state to another as a narrator in a story. In The Emotional Power of 128 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN One of the architectural trends observed in La Carboneria’s intervention is the transformation of balcony windows into the primary entrances of residences. This change challenges the established social and architectural structuralism which assumes a certain accepted and consolidated organization in living spaces. It raises intriguing questions: why does society not typically enter homes through balconies? Or why is there no bathroom in the kitchen? These arrangements are rooted in deep-seated social norms, but to what extent are they truly ingrained? Circulation patterns rely on the observer's structuralist perception. This phenomenon highlights the relativity of design, as interpretations depend on the viewer's position and perspective. To some, residents might appear to be entering their homes through the balcony; to others, they are accessing them appropriately, acknowledging the shift in usage and typology. The change in perspective is due to the decentralization of circulation, which occupies the former courtyard and creates a shared space for both movement and gathering. This shift suggests a reorganization of the facades, as they are now all visible, introducing a relative interpretation of the wall surface: whether hidden or exposed, it requires treatment in either case. This intervention calls for a logical and critical reassessment of the facade, adopting an inside-out approach. 129 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN One of the architectural trends observed in La Carboneria’s intervention is the transformation of balcony windows into the primary entrances of residences. This change challenges the established social and architectural structuralism which assumes a certain accepted and consolidated organization in living spaces. It raises intriguing questions: why does society not typically enter homes through balconies? Or why is there no bathroom in the kitchen? These arrangements are rooted in deep-seated social norms, but to what extent are they truly ingrained? Circulation patterns rely on the observer's structuralist perception. This phenomenon highlights the relativity of design, as interpretations depend on the viewer's position and perspective. To some, residents might appear to be entering their homes through the balcony; to others, they are accessing them appropriately, acknowledging the shift in usage and typology. The change in perspective is due to the decentralization of circulation, which occupies the former courtyard and creates a shared space for both movement and gathering. This shift suggests a reorganization of the facades, as they are now all visible, introducing a relative interpretation of the wall surface: whether hidden or exposed, it requires treatment in either case. This intervention calls for a logical and critical reassessment of the facade, adopting an inside-out approach. 4. Inside Out, The Paradox of La Carboneria This interplay of transitional spaces and layered experiences parallels the broader paradox of La Carboneria, where its plain, unadorned street-facing facade seems almost anonymous, deliberately understated in a city celebrated for its flamboyant modernist landmarks. Yet, this simplicity conceals a richer narrative revealed through its intricate and expressive interior-facing elevation, which offers a striking contrast. This duality highlights the tension between outward appearance and inner complexity, encouraging us to reconsider where architectural value resides. Is it in the ability to dazzle at first glance, or in the deeper resonance that emerges with closer examination? By challenging the primacy of visibility, La Carboneria invites us to find beauty and meaning beyond surface impressions, emphasizing the layered stories that architecture can hold. Fig.15. The first picture shows the exterior of La Carboneria, a plain and unassuming façade with nothing particularly striking. In contrast, the second picture reveals the interior-facing elevation, which is intricate, expressive, and full of captivating details. This duality resonates deeply with Søren Kierkegaard’s (1813 - 1855) exploration of the tension between external appearances and inner truth. Just as La Carboneria conceals its architectural vibrancy within, Kierkegaard’s assertion in Concluding Unscientific Postscript (1941)—that "truth is subjectivity"—emphasizes that the essence of existence is often hidden beneath the surface, shielded from public view. For Kierkegaard, truth is not an objective, external fact, but a deeply personal reality to be experienced inwardly. Similarly, the essence of La Carboneria—its architectural "truth"—is not immediately visible, but rather unfolds through intimate, deliberate engagement with the building. 130 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN Kierkegaard further reflects on the conflict between the roles we play externally and our internal convictions. This internal struggle, illuminated by conscience, pushes individuals toward authenticity and an existential life grounded in their true selves. La Carboneria’s hidden façade exemplifies this philosophy, reserving its most genuine expression for a private realm, resisting the superficial judgment of public appraisal. The building’s deliberate concealment of its expressive interior aligns with Kierkegaard’s critique of society’s obsession with external validation. Like Kierkegaard’s critique of shallow societal norms, La Carboneria offers a bold architectural response to the primacy of outward display, urging us to reconsider the value of what lies beneath the surface. In works like The Sickness Unto Death (1849), Kierkegaard critiques how modern society’s obsession with external validation and conformity often masks deeper, more meaningful truths. He argues that individuals, in their quest for approval from others, fail to confront the internal, subjective reality of their existence, which is central to personal authenticity and spiritual fulfillment. Similarly, La Carboneria’s unassuming street-facing façade, intentionally plain and almost anonymous, resists the trend in contemporary architecture to prioritize spectacle. By presenting a restrained exterior, the building rejects the impulse to impress passersby with grandeur or ornamentation. This choice in design mirrors Kierkegaard’s philosophy, which insists that authentic existence is not found in shallow judgments or public approval, but in an inward, subjective engagement with one’s true self. Just as Kierkegaard criticizes the superficial pursuit of societal recognition, he urges individuals to look inward for truth and meaning, free from the distractions of outward appearances (Kierkegaard, Either/Or, 1843). Similarly, La Carboneria invites deeper engagement by encouraging observers to look beyond the surface of the building to uncover the intricate beauty and symbolic richness concealed within. The contrast between the plain exterior and the expressive, detail-rich interior of La Carboneria embodies the very essence of Kierkegaard’s critique of societal norms. In Fear and Trembling (1843), Kierkegaard explores the tension between external roles and internal conviction, emphasizing the importance of authentic, individual experience over social expectations. La Carboneria’s hidden richness, revealed only upon closer inspection, mirrors Kierkegaard’s concept of subjective truth, where the core of existence is often buried beneath superficial layers, requiring introspection and personal engagement to truly understand. In this way, La Carboneria, like Kierkegaard’s critique, challenges us to reconsider our relationship with appearances. Are we content to admire the visible façade of the building, or do we venture deeper to uncover the more profound, hidden narratives it contains? Just as Kierkegaard urges individuals to break free from societal pressures and seek authenticity, La Carboneria’s design invites 131 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN Kierkegaard further reflects on the conflict between the roles we play externally and our internal convictions. This internal struggle, illuminated by conscience, pushes individuals toward authenticity and an existential life grounded in their true selves. La Carboneria’s hidden façade exemplifies this philosophy, reserving its most genuine expression for a private realm, resisting the superficial judgment of public appraisal. The building’s deliberate concealment of its expressive interior aligns with Kierkegaard’s critique of society’s obsession with external validation. Like Kierkegaard’s critique of shallow societal norms, La Carboneria offers a bold architectural response to the primacy of outward display, urging us to reconsider the value of what lies beneath the surface. In works like The Sickness Unto Death (1849), Kierkegaard critiques how modern society’s obsession with external validation and conformity often masks deeper, more meaningful truths. He argues that individuals, in their quest for approval from others, fail to confront the internal, subjective reality of their existence, which is central to personal authenticity and spiritual fulfillment. Similarly, La Carboneria’s unassuming street-facing façade, intentionally plain and almost anonymous, resists the trend in contemporary architecture to prioritize spectacle. By presenting a restrained exterior, the building rejects the impulse to impress passersby with grandeur or ornamentation. This choice in design mirrors Kierkegaard’s philosophy, which insists that authentic existence is not found in shallow judgments or public approval, but in an inward, subjective engagement with one’s true self. Just as Kierkegaard criticizes the superficial pursuit of societal recognition, he urges individuals to look inward for truth and meaning, free from the distractions of outward appearances (Kierkegaard, Either/Or, 1843). Similarly, La Carboneria invites deeper engagement by encouraging observers to look beyond the surface of the building to uncover the intricate beauty and symbolic richness concealed within. The contrast between the plain exterior and the expressive, detail-rich interior of La Carboneria embodies the very essence of Kierkegaard’s critique of societal norms. In Fear and Trembling (1843), Kierkegaard explores the tension between external roles and internal conviction, emphasizing the importance of authentic, individual experience over social expectations. La Carboneria’s hidden richness, revealed only upon closer inspection, mirrors Kierkegaard’s concept of subjective truth, where the core of existence is often buried beneath superficial layers, requiring introspection and personal engagement to truly understand. In this way, La Carboneria, like Kierkegaard’s critique, challenges us to reconsider our relationship with appearances. Are we content to admire the visible façade of the building, or do we venture deeper to uncover the more profound, hidden narratives it contains? Just as Kierkegaard urges individuals to break free from societal pressures and seek authenticity, La Carboneria’s design invites us to engage with the complexity beneath the surface, where true meaning and value reside. Through its architecture, the building echoes Kierkegaard’s call for individuals to move beyond external expectations and embrace the deeper truths that can only be found through direct, thoughtful engagement with the world around us. The outward, street-facing façade of La Carboneria is almost anonymous, blending into its surroundings. This intentional simplicity stands in stark contrast to the interior-facing elevation, which bursts with character and detail, rewarding those who engage with it. Similarly, Kierkegaard’s concept of the "single individual"—who finds meaning through introspection rather than through societal expectations—encourages us to seek significance beyond surface-level impressions. Both Kierkegaard and La Carboneria challenge us to reconsider the true nature of value, urging us to look beneath the surface to uncover the authentic essence. 4.1 The Leap of Faith and Radical Freedom Kierkegaard’s concept of the “leap of faith” offers another compelling lens through which to understand La Carboneria. The leap represents an embrace of uncertainty, a willingness to trust in the unknown as a pathway toward true freedom—an ethos embodied in the building’s layered symbolism (Kierkegaard, 1843). Just as Kierkegaard urges individuals to live authentically, free from societal constraints, La Carboneria invites a deeper engagement, urging observers to move beyond its plain exterior and uncover its hidden vitality. This act of discovery mirrors Kierkegaard’s ethics of individuality, where authenticity is found in rejecting conformity and embracing deeper exploration (Kierkegaard, 1843). His famous parable of the tame geese5, who preach the joys of freedom yet remain earthbound, serves as a metaphor for the human condition. These geese, despite their words, never take flight—trapped by their routines and by the illusion of freedom. Similarly, La Carboneria critiques the architectural tendency to favor visual flamboyance over thoughtful, meaningful design while many buildings in Barcelona prioritize dazzling façades to impress at first glance. La Carboneria’s inner façade, hidden from the casual gaze, dares to reject the flamboyant theatrics often associated with public-facing architecture. Its intricate and expressive design resides in a private realm, demanding a level of engagement and curiosity to uncover its true essence. This refusal to conform to expectations parallels Kierkegaard’s insistence on individuality as an inward 5Parable of the tame geese When the flight of the wild geese is heard in the air and there are tame geese down on the ground, the tame geese are instantly aware of it and to a certain degree they understand what it means; this is why they also start up, beat their wings, cry out and fly along the ground a piece in awkward, confused disorder. 132 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN journey—one that resists societal pressures to conform to appearances. While many buildings in Barcelona dazzle with ornate façades meant to impress at first glance, La Carboneria asks a different question: is architecture’s purpose to astonish, or to provide a space that resonates deeply with those who experience it fully? The interplay between La Carboneria and Kierkegaard’s philosophy also raises broader questions about how we engage with the world. Are we content to admire façades—the metaphorical “preaching geese”—or do we dare to seek what lies beyond them? Much like the geese in Kierkegaard’s parable must leave the safety of the ground to experience the freedom of flight. 4.2 La Carboneria as a Bridge Between Realms La Carboneria exemplifies how architecture can act as a dynamic bridge between public and private realms, creating what architectural theorists refer to as “thick inhabited spaces” (Thibaud, 2001). These spaces blur the rigid boundaries between interior and exterior, fostering fluid interaction and connection across social and physical divides. The building’s street-facing façade, adorned with the symbolic imagery of a hot air balloon and surrounding drawings, extends its narrative beyond the confines of architecture. This whimsical imagery invites curiosity and engagement, allowing La Carboneria to resonate with both passersby and the collective memory of Barcelona. The building becomes more than a shelter—it becomes a cultural and social participant in the city, contributing to the urban fabric in ways that transcend its mere aesthetic value. The notion of “porosity,” as seen in La Carboneria’s design, is essential to its role in urban discourse. Thibaud (2001) describes porosity as the ability of spaces to offer accessibility through visual and symbolic interaction, rather than direct physical entry. La Carboneria’s façade embodies this concept, creating an open dialogue with the city’s inhabitants through its visual language. The façade does not just serve as an architectural boundary but as an invitation—an entry point for interaction that allows people to connect with the building’s deeper layers, even without crossing its threshold. In this way, La Carboneria challenges traditional notions of private and public space, pushing the boundaries of architectural engagement. By employing symbolic imagery and an open architectural language, La Carboneria extends the idea of “porosity” in urban design. The building becomes more than just a place of residence; it becomes a site of continuous interaction, inviting both public participation and private reflection. Through this design, La Carboneria exemplifies how architecture can shape social and cultural exchange in both 133 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN journey—one that resists societal pressures to conform to appearances. While many buildings in Barcelona dazzle with ornate façades meant to impress at first glance, La Carboneria asks a different question: is architecture’s purpose to astonish, or to provide a space that resonates deeply with those who experience it fully? The interplay between La Carboneria and Kierkegaard’s philosophy also raises broader questions about how we engage with the world. Are we content to admire façades—the metaphorical “preaching geese”—or do we dare to seek what lies beyond them? Much like the geese in Kierkegaard’s parable must leave the safety of the ground to experience the freedom of flight. 4.2 La Carboneria as a Bridge Between Realms La Carboneria exemplifies how architecture can act as a dynamic bridge between public and private realms, creating what architectural theorists refer to as “thick inhabited spaces” (Thibaud, 2001). These spaces blur the rigid boundaries between interior and exterior, fostering fluid interaction and connection across social and physical divides. The building’s street-facing façade, adorned with the symbolic imagery of a hot air balloon and surrounding drawings, extends its narrative beyond the confines of architecture. This whimsical imagery invites curiosity and engagement, allowing La Carboneria to resonate with both passersby and the collective memory of Barcelona. The building becomes more than a shelter—it becomes a cultural and social participant in the city, contributing to the urban fabric in ways that transcend its mere aesthetic value. The notion of “porosity,” as seen in La Carboneria’s design, is essential to its role in urban discourse. Thibaud (2001) describes porosity as the ability of spaces to offer accessibility through visual and symbolic interaction, rather than direct physical entry. La Carboneria’s façade embodies this concept, creating an open dialogue with the city’s inhabitants through its visual language. The façade does not just serve as an architectural boundary but as an invitation—an entry point for interaction that allows people to connect with the building’s deeper layers, even without crossing its threshold. In this way, La Carboneria challenges traditional notions of private and public space, pushing the boundaries of architectural engagement. By employing symbolic imagery and an open architectural language, La Carboneria extends the idea of “porosity” in urban design. The building becomes more than just a place of residence; it becomes a site of continuous interaction, inviting both public participation and private reflection. Through this design, La Carboneria exemplifies how architecture can shape social and cultural exchange in both subtle and profound ways, encouraging a richer, more engaging relationship between the city and its inhabitants. 4.3 Frames of Visibility and the Urban Narrative Moreover, La Carboneria’s role in framing visibility in the public realm, both in terms of the building’s historical presence and its social significance, reflects the “frames of visibility” described in the study of urban space. The unique façade of the building stands out not only for its design but for the way it interacts with light, perception, and its urban context. As an architectural element, it functions as what Thibaud (2001) describes as a "form of light," shifting between prominence and subtlety depending on the perspective from which it is viewed. This dynamic quality creates three distinct conditions of visual reception: overexposure, where the façade makes a bold and striking visual statement; filtering, where it highlights specific symbolic meanings embedded in its design; and silhouetting, where its form is emphasized as a distinct outline against the city’s landscape. Together, these aspects make the façade a powerful mediator between the building and its surroundings, enriching its visual and symbolic presence (Thibaud, 2001). In designing and analyzing urban spaces like La Carboneria, façades can transcend their structural function, organizing light, visibility, and interaction with the public. La Carboneria’s combination of symbolic art and architectural design provides a powerful example of how urban design can create spaces that “invite entrance” and encourage engagement with the city, blending the private and public spheres into a cohesive, symbolic urban narrative. Fig. 16. The figure shows the façade before and after the renovation, painted in a brown color.(attributed to: Balcells 2023). La Carboneria is not merely a building but a philosophical statement. Its contrasting façades compel us to consider the relationship between external appearances and internal truths, between public spectacle and private authenticity. Through its design, it challenges conventional architectural norms, engaging Kierkegaard’s existential themes of subjectivity, freedom, and authenticity. In doing so, La 134 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN Carboneria becomes a living metaphor, urging both architects and individuals to transcend the superficial, embrace the unseen, and dare to discover the depth within. 5. Memory of Place In this section, we will explore the relationship between memory, architecture, and power, examining how spaces preserve or transform historical narratives over time. We will define the concept of Memory of Place through the writings of Mari Hvattum(1968), Henri Lefebvre (1901–1991), and Dylan Trigg(1980), understanding its dynamic character and its role in bridging heritage with contemporary needs. Their perspectives reveal how memory in architecture is not static but evolves, shaped by societal influences and power structures. Ultimately, we argue that memory in architecture is a malleable force, capable of being reshaped to link the past with future intentions, reflecting both cultural identity and adaptive reuse. Memory is not merely a repository of past events; it is an active and evolving force that shapes how we perceive and engage with the world around us. It intertwines with our experiences, emotions, and actions, continuously influencing our understanding of both the past and the present. Memory evolves, adapts, and transforms, creating new narratives that reflect the changing needs and realities of individuals and societies (“A Review of Memory Theory,” 2016). Dylan Trigg, in his work The Memory of Place: A Phenomenology of the Uncanny (2013), suggests that memory is deeply tied to our interactions with physical spaces. He argues that memory is not simply about recalling the past but actively shapes how we experience spaces in the present and envision them for the future. According to Trigg, familiar environments carry memories that shift and evolve over time, adapting to our current emotions, needs, and circumstances. This dynamic process allows places to respond to present realities or even justify specific actions, fostering a continuous connection between past experiences and present obligations. For Trigg, the memory of place is not a static archive but a fluid and transformative bridge between past and present, enabling reinterpretation and renewal. This perspective highlights that places are far more than passive backdrops to human life; they are integral to our lived experiences. The memory of a place is shaped not only by cognitive recall but also by emotional and physical connections (“A Review of Memory Theory,” 2016). When we revisit a place after time has passed, both the space and our relationship to it often feel different, reflecting the evolving nature of memory. As Trigg (2013) notes, this interplay between memory and place helps shape our identity, reframing our understanding of ourselves and the world around us. 135 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN Carboneria becomes a living metaphor, urging both architects and individuals to transcend the superficial, embrace the unseen, and dare to discover the depth within. 5. Memory of Place In this section, we will explore the relationship between memory, architecture, and power, examining how spaces preserve or transform historical narratives over time. We will define the concept of Memory of Place through the writings of Mari Hvattum(1968), Henri Lefebvre (1901–1991), and Dylan Trigg(1980), understanding its dynamic character and its role in bridging heritage with contemporary needs. Their perspectives reveal how memory in architecture is not static but evolves, shaped by societal influences and power structures. Ultimately, we argue that memory in architecture is a malleable force, capable of being reshaped to link the past with future intentions, reflecting both cultural identity and adaptive reuse. Memory is not merely a repository of past events; it is an active and evolving force that shapes how we perceive and engage with the world around us. It intertwines with our experiences, emotions, and actions, continuously influencing our understanding of both the past and the present. Memory evolves, adapts, and transforms, creating new narratives that reflect the changing needs and realities of individuals and societies (“A Review of Memory Theory,” 2016). Dylan Trigg, in his work The Memory of Place: A Phenomenology of the Uncanny (2013), suggests that memory is deeply tied to our interactions with physical spaces. He argues that memory is not simply about recalling the past but actively shapes how we experience spaces in the present and envision them for the future. According to Trigg, familiar environments carry memories that shift and evolve over time, adapting to our current emotions, needs, and circumstances. This dynamic process allows places to respond to present realities or even justify specific actions, fostering a continuous connection between past experiences and present obligations. For Trigg, the memory of place is not a static archive but a fluid and transformative bridge between past and present, enabling reinterpretation and renewal. This perspective highlights that places are far more than passive backdrops to human life; they are integral to our lived experiences. The memory of a place is shaped not only by cognitive recall but also by emotional and physical connections (“A Review of Memory Theory,” 2016). When we revisit a place after time has passed, both the space and our relationship to it often feel different, reflecting the evolving nature of memory. As Trigg (2013) notes, this interplay between memory and place helps shape our identity, reframing our understanding of ourselves and the world around us. Memory, as it is tied to place, remains dynamic, ensuring that spaces retain their significance while continually offering new meanings. 5.1 Memory as a Tool of Power In his work The Production of Space (1974), materialist and Marxist philosopher Henri Lefebvre (1901–1991) explores the concept of viewing spaces as repositories of memory. He argues that spaces act as deposits of collective memories, reflecting the social relations and actions of the past. Lefebvre further explains how urban planning and architecture can be intentionally designed to promote certain memories, shaping how communities relate to their surroundings (Lefebvre et al., 1991, pp. 128–130). However,he emphasizes that this process is not universal; it is influenced by power structures, which selectively preserve some memories while deliberately erasing others. Fig. 17. A three-dimensional promenade connecting new circulation with the historical façade’s memory. The case of La Carboneria (Casa Tarragó) illustrates the conflict between heritage conservation and contemporary architectural practices. The objective was to re-create a façade that would have looked onto a street that was never constructed, significantly altering the design by omitting the staircase and converting the courtyard into an atrium instead. This concept aligns with Lefebvre’s criticism of capitalistic societies, where place memory can be simulated to reconstruct heritage for the purposes of a preferred narrative rather than reflecting the true historical reality (Lefebvre et al., 1991, pp. 75–76). As mentioned in Plaster Monuments: Architecture and the Power of Reproduction(2017) by Mari Lending (1969), the question of whether to restore, conserve, or reinterpret structures reveals the intricate relationship between memory, preservation, and the role of power in shaping architectural 136 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN narratives. The Hall of Architecture at the Carnegie Museum in Pittsburgh provides a striking example of how historical fragments can be recontextualized to construct a new, curated version of the past. The museum’s plaster casts of iconic architectural elements—from Greek temples to Romanesque church façades—are meticulously crafted to evoke authenticity, even though they are removed from their original contexts. This reassembly fabricates a cohesive yet artificial panorama of architectural history, reflecting the intent of its creators to project a universal narrative of cultural and artistic progression (Lending, 2017, p. 2). The ability to create such a display was made possible by wealth and influence, exemplifying how power can dictate which stories are preserved and how they are presented. Fig. 18. The figure shows the museum’s display of plaster casts from various countries, recontextualizing architectural elements. Similarly, the case of La Carboneria in Barcelona illustrates the tensions between historical preservation and contemporary adaptation. The decision to reconstruct a façade for a street that was never built, while altering the building’s structure to accommodate modern uses, reflects a deliberate manipulation of architectural memory. Like the Hall of Architecture, La Carboneria balances the past and present, blending authenticity with reinvention. Yet, this transformation underscores how those in positions of power—whether architects, patrons, or cultural institutions—exercise control over which aspects of history are preserved and which are altered or erased. Both cases highlight the fluidity of architectural memory and the role of power in determining its trajectory. The Hall of Architecture imposes a vision of universal heritage shaped by Western-centric ideals, while La Carboneria reimagines history to align with modern purposes. In both instances, the 137 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN narratives. The Hall of Architecture at the Carnegie Museum in Pittsburgh provides a striking example of how historical fragments can be recontextualized to construct a new, curated version of the past. The museum’s plaster casts of iconic architectural elements—from Greek temples to Romanesque church façades—are meticulously crafted to evoke authenticity, even though they are removed from their original contexts. This reassembly fabricates a cohesive yet artificial panorama of architectural history, reflecting the intent of its creators to project a universal narrative of cultural and artistic progression (Lending, 2017, p. 2). The ability to create such a display was made possible by wealth and influence, exemplifying how power can dictate which stories are preserved and how they are presented. Fig. 18. The figure shows the museum’s display of plaster casts from various countries, recontextualizing architectural elements. Similarly, the case of La Carboneria in Barcelona illustrates the tensions between historical preservation and contemporary adaptation. The decision to reconstruct a façade for a street that was never built, while altering the building’s structure to accommodate modern uses, reflects a deliberate manipulation of architectural memory. Like the Hall of Architecture, La Carboneria balances the past and present, blending authenticity with reinvention. Yet, this transformation underscores how those in positions of power—whether architects, patrons, or cultural institutions—exercise control over which aspects of history are preserved and which are altered or erased. Both cases highlight the fluidity of architectural memory and the role of power in determining its trajectory. The Hall of Architecture imposes a vision of universal heritage shaped by Western-centric ideals, while La Carboneria reimagines history to align with modern purposes. In both instances, the intent of those wielding power determines whether architecture serves as a vessel for memory, a tool for reinvention, or both. Ultimately, these examples suggest that power not only decides what is preserved but also dictates the narratives that future generations inherit. Memory in architecture is a dynamic force that extends beyond the preservation of history, actively shaping the present and guiding future developments. As noted by Mari Lending in the book Plaster Monuments: Architecture and the Power of Reproduction , architectural memory is not static but evolves with time, influencing how spaces are experienced and adapted (Lending, 2017,p. 12). It serves as a bridge between past significance and future utility, informing decisions about whether to restore, adapt, or repurpose spaces. This ongoing process reflects the power of memory in architecture to mold both historical narratives and future engagements with space. 5.2 Future, Past, Memory The choice between living in the present and creating new memories, or looking back to cherish what has already been done, is both intricate and deeply personal. As noted in The Emotional Power of Spaces (Beka, 2023), the respect for and awe of passing time often become the most significant factors. Beka asserts that the true value of architecture cannot be fully understood at the time of its completion. Instead, value is often recognized only with the passage of time, marking a departure from the straightforward perspective of memory in architecture (Beka, 2023). This idea challenges the conventional, immediate understanding of architectural memory and aligns with As Alois Riegl (1858-1905) argues in his work The Modern Cult of Monuments (1928), monuments acquire meaning over time. Riegl states that “a monument’s historical value is not intrinsic but emerges as a product of time, revealing its importance as it undergoes change and decay” (Riegl, 1928, p. 148). He further suggests that the true value of a monument is frequently recognized only in hindsight, as it integrates into collective memory and cultural narratives, transcending its original function. Fig. 19. The figure shows the old façade featuring drawings of people, highlighting the historical and cultural significance of the space. (attributed to: Balcells 2023) 144 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAHADHA, Danya, JUWARA, Mustafa, NABULSI, Miral, PRYTOLUK, Sofia and XU, Haozhe APRÈN 14. Cornelis Escher, Maurits, 1953. “The engraving of Relativity” Photo Retrived from Leonardi, E. https://www.redalyc.org/journal/5175/517554419015/html/ 15. Rota, Simona, untitled, 2022. photographs 16. Rota, Simona, untitled, 2022. photographs 17. Rota, Simona. 2022. "La Carboneria." Photo. Retrieved from https://urbannext.net/la-carboneria/. 18. Beckler, Matthew. 2012. "Hall of Architecture." Photo. Retrieved from https://fatherpitt.com/2012/10/24/hall-of-architecture/. 19. OSS Office for Strategic Spaces. 2023. "La Carboneria." Photo. Retrieved from https://carboneria.es/es/. 145 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues La Carboneria: a study of the symbolic use of common circulations APRÈN 14. Cornelis Escher, Maurits, 1953. “The engraving of Relativity” Photo Retrived from Leonardi, E. https://www.redalyc.org/journal/5175/517554419015/html/ 15. Rota, Simona, untitled, 2022. photographs 16. Rota, Simona, untitled, 2022. photographs 17. Rota, Simona. 2022. "La Carboneria." Photo. Retrieved from https://urbannext.net/la-carboneria/. 18. Beckler, Matthew. 2012. "Hall of Architecture." Photo. Retrieved from https://fatherpitt.com/2012/10/24/hall-of-architecture/. 19. OSS Office for Strategic Spaces. 2023. "La Carboneria." Photo. Retrieved from https://carboneria.es/es/. 146 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAI, Jiayi, WANG, Sixian, LI, Xiaotong and BECERRA, Fernanda APRÈN 1 Understanding Form through Present and Future Function 105 Apartments for the Elderly Project Case Study Abstract In architecture, the relationship between function and form have been a core issue since Louis Sullivan proposed the famous principle "form follows function", focusing on how a building's use aligns with its visual expression. Using the 105 Apartments for the Elderly project by 2016 as a case study, this article explores strategies to balance and coordinate these aspects in design. The discussion is divided into two parts: the first examines how design addresses existing functions, while the second considers how architectural form can adapt to changing functions. Unlike conventional residential designs, this project specifically addresses the needs of elderly residents, who spend significant time at home and require improved accessibility and spaces for social interaction. The first part of this article examines the design principles of Accessibility and Activity, focusing on how these elements enhance elderly living experiences. The second part explores how architecture can accommodate changes in function or user groups over time. Centered on the principles of Flexibility and Adaptability, the discussion delves into how architectural form can evolve to meet new demands, ensuring functionality, coherence, and responsiveness to future needs. Keywords: Activity, Accessibility, Flexibility, Adaptability Dai Jiayi, Wang Sixian, Li Xiaotong, Fernanda Becerra 147 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues Understanding form through present and future function. 105 apartments for the elderly case study APRÈN 2 This section takes Apartment 105 as a starting point and discusses how design can be subordinated to existing functional needs, from “public activity space” to “barrier-free design”, and how function and form should be matched and corresponded to each other in a certain way. Activity The diversity of public activities among older people reflects their varying preferences, which depend on factors such as age and health status. This study focuses on a selected senior apartment that incorporates specific designs for public spaces. Using this as a starting point, it analyzes the functional types and spatial arrangements of these areas, projecting and imagining the types and characteristics of public activity spaces that may be needed in the future. Defining activity spaces inherently involves inconsistencies and uncertainties. As shown in the diagram, the blue areas represent indoor public activity spaces, while the orange areas denote outdoor public activity platforms. The apartment integrates both indoor and outdoor public spaces, with close connections between the two. Figure 1. Typical plan of the research object However, two areas of the design invite further reflection: Based on on-site investigations, indoor public activities are notably diverse, encompassing spaces such as art rooms, conversation areas, and gyms. Multifunctional rooms, such as classrooms, add further versatility. Despite this, the spatial configurations share a common trait: all are irregular shapes with sharp and straight angles. In other words, a singular spatial type accommodates a variety of functional activities. Second, the green areas in the diagram represent platforms with integrated benches, yet no additional facilities are provided. Research indicates that older adults exhibit a stronger preference for accessible green landscapes over purely visual greenery and favor spaces allowing direct interaction with plants. 148 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAI, Jiayi, WANG, Sixian, LI, Xiaotong and BECERRA, Fernanda APRÈN 3 [1] According to the author's own actual research on October 7, it can be learned that the outdoor platforms host numerous potted plants cultivated by the residents themselves. However, the public space design that only for dwellers itself fails to offer any greenery specifically intended for viewing or physical engagement. Combined with the above analysis, the author believes that Apartment 105 is basically divided into indoor and outdoor activity spaces in terms of public activity spaces: indoor public activity spaces are adapted to different functions with the same kind of spatial layout, while outdoor spaces are mainly characterized by hard-paved terraces as the main scope. The next part of the article will be a derivation of the types of public activity spaces for the elderly and their characteristics, centering on the situation of Apartment 105 itself. 1. Types of public activities for the elderly Social and Gathering Spaces Neighbourhood surroundings can help older people’s health in two ways. One way is to provide opportunities for active participation. Another approach may be to provide areas where individuals can gather with others and appreciate nature [2]. Thus, being healthy is an outcome of mobility in activities that lead to independence and autonomy. Gardening and Nature Engagement There are data to suggest that, “ a home with views out to nature/greenways, thus, more important than having a private garden/outside space and was of somewhat higher importance than having access to public green space/parks[3][4][5].“It can be observed that in senior housing, accessible green landscapes within the apartment complex itself take precedence over private outdoor spaces and even more so over public green spaces and parks, primarily due to seniors’ limited walking range. How to incorporate accessible greenery into daily apartment living thus becomes a relevant design consideration. For senior-oriented public activity spaces that emphasize gardening and natural landscapes, essential elements include courtyards and green areas with characteristics such as tactile plantings and accessible pathways. However, a frequently overlooked aspect in common designs is the inclusion of plants that can be easily touched and engaged with. An article discusses the restorative benefits of active interaction with natural environments. It finds that environments enabling tactile and immersive experiences, such as touching plants or soil, lead to better outcomes in stress reduction and emotional health compared to passive visual green spaces.[6] For senior green spaces to provide not only aesthetic value but also tactile accessibility, it is crucial to ensure that plants are within reach, allowing elderly residents to experience greenery up close without needing to leave the building. This proximity to nature aids in relaxation and mental well-being. “Therapeutic Effects of Gardening for Older Adults: A Review of Literature” by Soga, said that how engaging in gardening provides sensory and physical interaction with plants, promoting both mental and physical health benefits beyond what is typically gained through visual exposure to greenery. It emphasizes reduced stress levels and enhanced cognitive function among older participants. [7] Health and Fitness Facilities 149 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues Understanding form through present and future function. 105 apartments for the elderly case study APRÈN 4 Health and fitness facilities in senior housing play a vital role in promoting older adults’ overall wellbeing. These spaces support physical, cognitive, and emotional health, helping seniors maintain independence and engage actively with their environment. Study show that such spaces foster social interaction and cognitive engagement. Group activities encourage social bonds, contributing to emotional resilience and a sense of community. Research highlights that fitness activities involving multiple senses (e.g., dance or choreography) can stimulate cognitive function, enhancing memory and executive skills essential for decision-making and problem-solving.[8] Together, these features make health and fitness facilities indispensable in senior communities, supporting a holistic approach to aging that prioritizes both physical independence and mental wellbeing. Recreational and Quiet Spaces "Recreational and quiet spaces" in senior housing are crucial for supporting the emotional and psychological well-being of older adults. These spaces are designed to provide a peaceful, lowstimulation environment, which can significantly reduce stress, alleviate anxiety, and promote mental relaxation. Many seniors face stressors such as isolation or cognitive decline, and these quiet spaces act as a sanctuary away from the active, social parts of communal living, helping them process emotions and reconnect with themselves.[9] Additionally, these spaces often facilitate introspection and restful activities like reading or meditating, enhancing cognitive engagement and memory by offering a controlled, calm environment. The sensory appeal of quiet environments—like subtle lighting and comfortable seating—encourages prolonged, undisturbed time spent in reflection. Quiet spaces have shown benefits not only for mental clarity but also for maintaining a sense of purpose and identity, especially when such areas include access to nature or views of outdoor spaces, which provide calming visual stimuli. Overall, recreational and quiet spaces are carefully integrated into senior housing as essential elements for balanced daily living, addressing the holistic needs of residents by combining relaxation with subtle opportunities for mental stimulation and reflection. This approach to design underscores the importance of creating senior-friendly environments that support both active engagement and restful, introspective activities. Multi-functional Activity Areas Multi-functional activity areas are integral to senior people using as they support diverse activities and foster social engagement, adaptability, and well-being. Research shows that these spaces are essential for maintaining an inclusive, stimulating environment that meets the evolving needs of older adults. Such spaces are designed to accommodate various activities, including social gatherings, group exercises, and cultural events, promoting both physical and mental health. In multi-functional spaces, flexibility is a key feature, often achieved through adaptable furniture, open layouts, and integrated technology, which allow the space to transform quickly for different uses (CRC Research, 2023; Arch2O, 2024). These spaces enhance the quality of life in senior housing by providing environments where seniors can engage in physical activity, social interaction, and leisure, all of which are critical to healthy aging. 150 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAI, Jiayi, WANG, Sixian, LI, Xiaotong and BECERRA, Fernanda APRÈN 5 2. Types of public space activities for older people and their spatial characteristics Activity Type Spatial Characteristics Relevant Literature and Sources Social and Gathering Spaces Open layouts, comfortable seating, warm lighting Younes et al. (2024) review the role of communal spaces in improving seniors' quality of life through social connection[1]; Metlifecare Gulf Rise Green areas have been designed around courtyards and corridors to facilitate residents' participation in gardening and walking activities. Gardening and Nature Engagement Gardens, green areas, tactile plants, accessible pathways Kottinger Gardens (2024) includes extensive garden spaces for nature engagement; Serwall (2024) discusses senior-friendly gardening spaces with accessible planting beds and sensory plants. Health and Fitness Facilities Accessible gyms, yoga platforms, non-slip flooring Sun Rise Assisted Living (2024) features outdoor exercise spaces with safe, non-slip surfaces; Blake at the Grove (2024) integrates walking paths and active spaces to promote physical health. Recreational and Quiet Spaces Quiet settings, reading areas, soft seating, soundproofing MDPI Review (2024) emphasizes the need for quiet, relaxing areas for elderly recreation and mental well-being ; Portugal's Alcabideche neighborhood offers gardens for meditation and relaxation, providing residents with a private space away from the hustle and bustle of the city. Multi-functional Activity Areas Flexible indoor/outdoor spaces for group events Half Moon Bay Village (2024) features outdoor gazebos and flexible areas for group gatherings ; Half Moon Bay Village features a gazebo area for residents and visitors to share, supporting group activies of varying sizes. 151 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues Understanding form through present and future function. 105 apartments for the elderly case study APRÈN 6 Figure 2. Types of public activities and spatial characteristics of the elderly 3.The Impact of Space on Activities This article specifically explores the impact of spatial design on public activities for elderly communities, particularly in the design of senior housing apartments. In the 105 apartments, the public activity spaces are divided across two levels. The ground floor and first floor contain larger public spaces, while the activity spaces on the second floor and above are smaller. These spaces are configured as indoor-outdoor areas, with clear passageways and doors separating the two. It is noteworthy that the public spaces on the ground and first floors are available for use by the surrounding community, which gives them a certain level of outward social engagement. On the other hand, the public spaces on the second floor and above are more private, primarily serving the residents on those floors. Each floor has similarly sized activity rooms, which in turn reduces their communal attributes. In other words, when the public spaces on each floor share similar characteristics and configurations, the question arises as to whether the elderly have sufficient "space for social activities" and the desire to utilize them. Figure 3. 3 typical plans of the 105 apartments This example refers to another social housing project in Spain is Torre Júlia. Bright shades of yellow and green help elderly people navigate this 17-storey housing block in Barcelona, designed by Spanish architects Pau Vidal, Sergi Pons, and Ricard Galiana. The building is organized into three so-called "communities," each of which is allocated a larger space where elderly residents engage in most of their collective activities. These spaces are the core of the project. 152 MBARCH - Contemporary Project - Contemporary architectural issues Course 2024-2025 DAI, Jiayi, WANG, Sixian, LI, Xiaotong and BECERRA, Fernanda APRÈN 7 Figure 4. Torre Júlia's space of engagement The corridors and stairs surround the exterior, leading to a double-height public space. These corridors not only serve as circulation routes but also function like streets, guiding people toward larger social spaces. The wide corridors overlook the city, and all outdoor areas are equipped with stairs, doublewidth zones, and shaded terraces. These features are designed to provide opportunities for elderly residents to socialize and engage in community activities. This approach is not unique. Le Corbusier’s "Skip-Stop" system bears certain similarities, reminding us that "a corridor is not just a corridor." It can be a place where people pause, and it can also create a full-height space, generating more opportunities for social interaction. Figure 5. The full-height spaces of Torre Júlia and Le Corbusier's Skip-Stop system The above example highlights how public spaces can better serve elderly communities, and such cases are plentiful. What is being expressed here is that public activity spaces themselves should offer more "spatial possibilities." It is difficult to assess whether standardized spaces limit the development of elderly public activities, as this would require extensive foundational research. However, it can be anticipated that future elderly populations will have increasing physical and psychological needs for public activities. How to shape public activity spaces with potential is an important question. Accessibility 1.Background and Problem Statement 153 Course 2024-2025 MBARCH - Contemporary Project - Contemporary architectural issues Understanding form through present and future function. 105 apartments for the elderly case study APRÈN 8 Research indicates a significant proportion of elderly individuals rely on wheelchairs. While assessing their access to public spaces, it is equally crucial to consider the convenience of living at home. Despite evolving accessibility regulations, many housing designs for elderly individuals fail to meet these standards. This shortfall could stem from outdated architectural designs, partial consideration of accessibility, or a reliance on typical human-centered design data without accommodations for wheelchair users. Furthermore, accessibility standards often vary across regions, adding complexity to their implementation. Accessibility is an intricate issue requiring careful consideration of time, space, and specific environmental factors. This article analyzes the accessibility of the 105 apartments for the elderly in Barcelona as a case study, drawing insights for improvement. Spanish regulations, specifically Documento Básico SUA Seguridad de utilización y accesibilidad (SUA 9, Accesibilidad 1.2.2, Table 1.1), mandate that public housing developments with 101–150 units must include at least four accessible apartments. By comparing floor plans with regional standards in Catalonia, this study evaluates the suitability of these apartments for wheelchair users and proposes modifications to transform them into accessible housing. 2.Interior Accessibility Analysis for Residential Spaces Based on the activities of disabled and elderly residents, interior spaces can be categorized into sleeping/resting areas, socializing areas, reading/writing areas, dining spaces, sanitation areas, storage spaces, and auxiliary spaces. These functions overlap and intertwine, necessitating comprehensive technical design for each unit to ensure high-quality accessible housing. 2.1 Single Space Analysis Entryway Design The entrance is crucial for disabled and elderly individuals. Proper design enables easy wheelchair access, while poor design may hinder mobility or pose life-threatening risks during emergencies. Accessibility standards address two wheelchair approaches: frontal and lateral. Frontal approach Lateral approach Figure 6. Specific movement for passing through a door.