Designed by architect Joan Miquel Seguí, the roof was shaped after three years of intense work and after winning a public competition for the rehabilitation of Plaza de España in Palma.

Its strength lies in the simple form obtained by a complex structural work, which is discreet. The key element is repeated jealousy, made to measure.

The geometric shape stems from the need to prevent pigeons from taking possession, thanks to an oblique plate on which they can not rest. The choice to keep the raw ceramic is dictated by a principle of 'living' architecture that changes over time.

Architects Xavier Martí and Lucía Ferrater have designed their holiday home in Bahía de Port de la Selva, in Catalonia.

Recovering a pre-existing house once belonging to a fishing family, the architects combined the Mediterranean culture of the patio with the architectural references of Villavecchia by F. Correa and A. Milá and the Senillosa house by J.A. Coderch.

The multigenerational house responds to the difficult climatic conditions through a central patio that divides two areas dedicated respectively to young people and adults. The ceramic floor, consisting of the traditional 13 mm thick rectangular tile, is a clear reference to Catalan Modernism.

The result of a year’s work, Manuel Bouzas Barcala’s thesis project reflects on the legacy of ruins, religious architecture, and balance. The result is an open-air pavilion, a contemplative space made up of ceramic roofs supported by cranes held in balance by the weight of the ruins.

These are fragments of capitals, bases, arches and columns of a church in Madrid built by Agustín Ortiz de Villajos in 1868. In 1975 it was demolished, and its remains were dumped on the Monte de el Pardo, where the Camino de Santiago once passed. The discovery of the remains led Barcala to catalogue them all, to measure their weight, with the intention of reconstructing, in his own way, the forgotten church.

He did not consider the remains as 620 pieces of a romantic ruin, but a set of 190 tons that act as a counterweight to several cranes that support a canopy made of hundreds of ceramic plates. It can be assembled and disassembled in a day: a performative act that offers countless design ideas.

“An intervention project that includes the use of lightweight large format marble-effect ceramic tiles that transform a seemingly simple distribution passage space into a focal point that illuminates the entire home.” Design María Fernández Torrado (Torrado Arquitectura)

Design María Fernández Torrado

Design María Fernández Torrado

“The project is an effective means of drawing attention to the vast potential of ceramic tiles in the field of large format prefabricated elements.” Design Studioninedots

“The project is an effective means of drawing attention to the vast potential of ceramic tiles in the field of large format prefabricated elements.” Design Studioninedots

“In this case, the deciding factor was not only the underlying perfection of the idea, but also the outstanding precision in the use of ceramic materials that contribute to the streamlined effect of a building where neatness in the use of details is essential.” Design Alberto Campo Baeza – Read the full article

“The jury appreciated the use of ceramic tile cupolas and tubular skylights to create a connection between the underground areas of the metro and the street level, thereby converting architecture into a mechanism for social interaction.” Design Clàudia Calvet Gómez

 

“The judges made particular mention of the effective use of units placed lengthwise and featuring eye-catching vaulted roofs topped with reinforced structural ceramic sheets.” Design Carmen Martín Hernando