David Garcia Studio


Posted in ARCHITECTURE, RESEARCH by davidamadorgarcia on July 20, 2009


Bamboo has been used as a building material for centuries, however traditional methods of construction with bamboo are generally convoluted, and do not take advantage of the inherent structural qualities of the material.
A single culm of madake bamboo can support approximately 1.2 tones of vertical load once fully grown. A bamboo shoot in the right climatic conditions can reach full height of 15 meters in just 30 days. Once bamboo is cut it becomes susceptible to moisture and pests. The biggest challenge in traditional bamboo construction is how to connect the poles to the footings. Nature has already solved this problem with a root system to anchor the plant to the ground.
This investigation tries using the structural possibilities of bamboo whilst it is living. The plant is allowed to grow through a grid floor and roof structure initially held in place with scaffolding. Metal plates are inserted into this grid structure where bamboo ‘columns’ are desired. As the plant matures and increases in girth it grows into the steel ring forming the structural connection to the floor and roof plates.
The project is presently being tested at the Beppu Bamboo Research Center, Japan.


Posted in ACADEMIC by davidamadorgarcia on July 20, 2009

4-5 SEPTEMBER 2009
ASAE is an annual two-day seminar at the School of Architecture, Lund University. It celebrates the beginning of the academic year. The aim is to keep an annual ongoing discussion about international education programs and architectural education strategies. ASAE promotes encounters between different schools of architecture in Europe, America and other countries, taking into consideration the objectives of the School of Architecture in Lund: Architectural Design, Experiment and Construction.
ASAE is meant to be a public event and the ambition is to also engage local and international architects, teachers, students, politicians etc. in an open discussion about architecture and design.
The first ASAE was held in the autumn of 2003 and has since then become an ongoing autumn semester event at Lund University.
The aim of ASAE is:
– To present and compare different architectural education programs.
– To analyse different education programs, with the object of improving the level at LTH-A.
– To develop ideas that could become contra-punctual processes in which several sources could participate, interact and overlay. In this way we will continually generate new architectural attitudes and new impulses.
– To discuss how ideas, concepts and dreams may be realised as constructed artefacts.
– To investigate how concepts, which may be obscure or apparently unrealisable, can be developed into a real building, with the conceptual ideas carried through to the final architectural proposal.
– To discuss how to solve economic and political problems that endanger the level of architectural education and that may result in future professional work in architectural practice, research, and education suffering.

Guest Professors and Practicing Architects at ASAE since 2003 are:

Professor Emeritus and practicing architect Sir Peter Cook, London. Professors & practicing architects Marcos Cruz & Marjan Colletti, the Bartlett and marcosandmarjan, London. Practicing architect John Cramer, Tower 151, Zagreb. Professor and practicing architect Odile Decq, Odile Decq Benoit Cornette Architectes Urbanistes, Dean of “Ecole Spéciale”, Paris. Professor and practicing architect Hernan Diaz Alonso, Xefirotarch and SCI-Arc, LA and Columbia University, NY. Professor Ellen Dunham-Jones, Georgia Institute of Technology, Atlanta. Professor Halina Dunin, School of Architecture, Oslo. Professor and practicing architect Kathryn Findlay, Ushida/Findlay, Tokyo and University of Dundee, UK. Professor and practicing architect David Garcia, Danish Royal Academy of Fine Arts, HLA and David Garcia Studio, Copenhagen. Professor and practicing architect Itsuko Hasegawa, Itsuko Hasegawa Atelier, Tokyo. Professor and practicing architect Christine Hawley, Dean of Bartlett School of Architecture, London. Professor and practicing architect Thomas Hellquist, School of Architecture, Lund. Professor Simon Herron, the Bartlett School of Architecture, London. “Arkitektur” Magazine Editor and architect Olof Hultin, Stockholm. Professor and practicing architect Helle Juul, Juul & Frost Architect Office, Copenhagen. Professor and practicing architect Sulan Kolatan, KOL/MAC LLC, NY. Practicing architect Gunilla Kronvall, Town planning Office, Malmö. Professor Lars Lerup, Dean of Rice School of Architecture, Houston. Professor and practicing architect CJ Lim, The Bartlett and Studio 8 Architects, London. Professor and practicing architect Morten Lund, Copenhagen. Professor and practicing architect Christer Malmström, Malmström & Edström, Gothenburg and LTH, Lund. Professor and practicing architect William Mac Donald, KOL/MAC LLC and Graduate Chair of Pratt Institute, NY. Professor Marcos Novak, UCSB, University of California, St.Barbara. Professor and practicing architect Ricardo de Ostos, the AA and NaJa & deOstos, London. Professor and practicing architect Florencia Pita, Fpmod and SCI-Arc, LA. Professor and practicing architect Hani Rashid, Asymptote, NY. Landscape architect Tina Sarap, Alnarp. Professor Brett Steele, Director of the Architectural Association School of Architecture, London. Practicing architect Mette Thomsen, Research Center Director, The Royal Danish Academy of Fine Arts, Copenhagen. Professor and practicing architect Svein Tønsager, Aarhus School of Architecture, Denmark. Practicing architect Eva Wang, Architect Studio, Shanghai. Professor and practicing architect Gert Wingårdh, Wingårdhs, Gothenburg. Professor and practicing architect Bijan Youssefzadeh, University of Arlington and Metropolis Architects, Arlington, Texas.


Posted in EXHIBITIONS by davidamadorgarcia on July 19, 2009

DAVID GARCIA STUDIO is invited to the Danish-Japanese design exhibition “Second Nature”, Copenhagen, Denmark.

8 August – 20 September 2009

The exhibition features furniture, lighting, textiles and pottery at the boundary between design and art, with a fascination for untamed nature and a minimalistic/aesthetic world.

All exhibitors are innovative and expressive professional artists and designers, and their groundbreaking works demonstrate passionate commitment to minimalistic ideals. They are all masters of their craft, and capable of telling present-day stories based on the values of the past. The sublime expression of their works connects with the future, giving them a contemporary and modern expression which surprises and yet seems familiar at the same time.



Posted in ARCHITECTURE, COMPETITIONS by davidamadorgarcia on July 19, 2009

As this pavilion will be constructed each summer, we chose to work with elements that could create a different configuration of spaces each time the structure was erected, basing our concept in simplicity and flexibility. We began with a standard sheet of plywood. By stacking these and allowing each element to become a sliding panel, an infinite arrangement of spaces to suite various exhibitions and gatherings could be created.

The location of the panels not only creates interior spaces, but also reflects the inverse space to the outside, inducing a dialogue with the surroundings and defining outdoor areas. The tracking system allows doors to be moved from the centre to the extremity of the roof space, which permits openings all the way along the pavilion as desired.
The interior of the building is not isolated from the elements, although the spacing of the boards ensures that artworks can be locked inside when required. This openness enhances the quality of the pavilion as a contrasting outdoor space in which to view art, from the typology adjacent gallery. Each sliding panel is top hung and has not been fixed to the ground to give the sensation of levitation. Once an exhibition or gathering space has been created, the panels can be locked into position and the pavilion is secured. This concept allows the pavilion to emerge anew each summer, each exhibition and each gathering.


Posted in ARCHITECTURE by davidamadorgarcia on July 19, 2009

This proposal for British Film Institute merges an existing natural park at the edge of Regents Canal in London. Functioning as a gate for the natural park and the researchers artificial landscape, the two cinema screens become hybrids and introduce alternative functions. The smaller and above ground cinema functions as a café with views over the canal during the day. The larger and underground cinema is the main library during the day, allowing for daylight during library hours.
An artificial garden is created to house the research facilities. From an archive for BFI’s microfilm library, to research and study pods covered with grass, pavilions that project films onto trees, underwater mini cinemas and hidden film screens, all recreate archetypical garden elements.


Posted in ARCHITECTURE, COMPETITIONS by davidamadorgarcia on July 19, 2009

The architectural competition for the National Wildflower Centre in Leeds, England, desired an extension to their existing installations, that expressed nature’s mathematical order that is not necessarily immediately apparent in nature, but found upon closer inspection. To test how this building could become an expression of this, Golden Section curves were placed on the site to test the interaction with the available site. From these curves and the site area constraints, the floor plan geometry of the building was derived. A well to collect rainwater was then placed within each of the floor plans. An arch with optimal bearing section was then drawn between the outer curve and the well, and then swept between the two, to create the three dimensional structure of the buildings.

Pragmatically the public and operational areas of the centre are separated into two buildings. Although these two areas are physically distinct from one another, the dialogue between the two forms and paths through the public building invites visitors to view the processes involved in seed production.

It was clear that the desire of the program was to work with non-linear surfaces. Natureʼs geometry is an example of how spaces are developed by surfaces growing into spaces. Sections through plants, reveal pockets created by single surfaces and the separation of layers into cavities. This same concept was overlayed onto the forms of the buildings, to solve the succession of functions under one single roof. Secondary skins were added to each building and pulled away from the outer walls as much as necessary to create spaces for functions that require defined areas. In the public building, the remainder of the area has been kept open to allow maximum flexibility of the space with the minimum of intervention. The classroom areas became floating volumes within the overall structure that define spaces of different sizes.

By choosing this methodology of defining spaces the flow through both buildings is uninterrupted. This is particularly heightened in the operational building where connections from seed sowing all the way through to dispatch have been created as one single path.

The floor plans of the two buildings have been derived from golden section curves. These were placed on the site and the geometry then morphed to fit within the available area. The timber woven-like pattern was generated around the rainwater storage tanks. The use of timber for the structure was selected to show how natural materials can be used in cutting edge ways.

It was clear that the desire of the program was to work with non-linear surfaces. Nature’s geometry is an example of how spaces are developed by surfaces growing into spaces. If a cut is taken through a flower, pockets that have been created within the structure of the flower to accommodate all the elements necessary for the flower to function and reproduce become apparent. This same concept was overlayed onto the forms derived form the Golden Section curves.

In the public building a second skin was introduced within the main volume and then pulled away from this surface to create spaces for the parts of the program that required defined areas. Other elements of the program are contained within this space in more rigid geometries. The positioning of these volumes in relation to the outer skins the goes on to define spaces within the building whilst maintaining the flexibility of spaces, and flow between them.

The internal walls of the production building have been peeled completely form the outer skin to create pockets to contain the various functions. The flow through this building from seed sowing to dispatch has been carefully considered and all spaces move easily from one to another.

Visitors are invited into this public building through the walled garden. By choosing this entry a strong dialogue is created between the two new buildings and the existing visitors centre and the walled garden of wildflowers. The flow of visitors is then directed out adjacent to the production building where they are invited to walk around the building to learn how seeds are produced, cleaned and packaged.

The building has been devised as a single structure but double clad. This reduces the amount of structural material required for the project whilst ensuring excellent thermal insulation. Each building becomes more opaque to the north where less light intensive functions have been located. The buildings open to the south to allow good solar access. Solar cells would be incorporated into the fabric of the external cladding where appropriate.


Posted in ARCHITECTURE, COMPETITIONS by davidamadorgarcia on July 19, 2009

The history of the skyscraper is inherently linked to that of the elevator. It is interesting to note that although structurally speaking the skyscraper has evolved enormously, it is still a vertical structure, dictated by the elevator, which in its effort to go up, it only meets a dead end. The lack for alternative methods of moving through floors (the elevator’s refusal to bend) has determined the typology of the skyscraper for the last hundred years or so.

This proposal wishes to expand the understanding of high-rises, beyond a high FAR structure, or an extrusion of a plan. The proposal’s main concept is simple: that the idea of moving up in a building can also mean moving to somewhere else in the urban fabric, taking the pedestrians’ relationship to the city as decisive design factor.

The concept converts the traditional structure into a double-ended skyscraper, making it rise and fall again, linking two sites and transforming the structure into a wormhole in the city. As thus, the building also becomes a public transport system, and accessible landscape. The skyscraper could link unconnected sites, or salvage topographic barriers such as rivers, or link different levels with in a city.