Author: Sarah Tió

  • Perpetumm Mobile

    Perpetumm Mobile

    Perpetumm Mobile

    LEARN | SHARE | REPEAT

    Perpetumm Mobile, un Juego de Rol Vanguardista

    Forjando Nuevas Fronteras Creativa.

    Collaborators  Renz Mina, Miguel Borrel, Karline Álvarez, Sarah Tió

    Exploramos las profundidades de la Xenonaturaleza a través de CoLAB, un innovador laboratorio que fusiona los conceptos de naturaleza, tecnología y futuro. En colaboración con el Institute For Postnatural Studies, presentamos con entusiasmo “Perpetumm Mobile”, una creación inspirada en Dungeons & Dragons y teñida con la provocadora temática de la Xenonaturaleza.

    Este ejercicio transversal desafía las concepciones tradicionales de naturaleza, tecnología y futuro, llevándonos a explorar formas inexploradas de creatividad. Guiados por la tutela de Pablo Ferreira, no solo desafiamos las barreras disciplinarias, sino que también co-creamos una especulación y ficción activa hacia el futuro.

     

    El objetivo de Perpetumm Mobile va más allá de ser simplemente un juego de rol; es la forja de un universo en constante evolución, donde la fantasía heroica y la tecnología del futuro convergen de maneras inesperadas. Inspirados por la filosofía de Dungeons & Dragons, invitamos a los jugadores a explorar y dar forma a su propio destino en un mundo lleno de magia y desafíos épicos.

    El proceso de creación ha sido una inmersión profunda en la creatividad sin restricciones y la síntesis de mundos diversos. Perpetumm Mobile no es solo un juego; es una expresión de la capacidad humana para imaginar, colaborar y crear algo verdaderamente extraordinario.

    Abordar el desafío de construir un mundo diferente nos llevó a pensar fuera de lo convencional. Construir otras posibilidades fue el gran reto de esta creación, donde la creatividad se fusiona con la tecnología, y la naturaleza se entrelaza con el futuro. 

    Este viaje de descubrimiento hacia lo inexplorado representa una oportunidad para desafiar los límites de la creatividad y esculpir el futuro de maneras que nunca hubiéramos imaginado. El nombre “Perpetumm Mobile” sugiere una búsqueda constante, un movimiento perpetuo que impulsa a los jugadores a explorar, descubrir y crear su propio destino. Este juego no es solo una serie de reglas y mecánicas; es una narrativa en evolución, una historia que se desarrolla con cada elección y giro inesperado.

    La influencia de Dungeons & Dragons en Perpetumm Mobile no es solo estética; es filosófica. Al igual que en el juego de rol original, los jugadores de este nuevo universo tienen la libertad de forjar su propio camino, convertirse en héroes, magos o exploradores en un mundo donde la magia y la tecnología convergen de maneras fascinantes.

    El desafío de crear Perpetumm Mobile ha sido más que una tarea académica; ha sido una inmersión en la creatividad sin restricciones y en la síntesis de mundos aparentemente dispares. Este juego no solo representa una creación académica; es un testimonio de la capacidad de la imaginación para romper barreras y trascender límites preestablecidos.

    Perpetumm Mobile es más que un proyecto; es una invitación a explorar lo inexplorado, a desafiar las convenciones y a dar forma al futuro del diseño de juegos de rol. Así, la odisea de crear este épico juego no solo se queda en las aulas; se convierte en una leyenda que deja su marca en el vasto reino de la creatividad.

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    Sarah Tió | Architect | Designer | Strategist | Innovator 

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  • Growth Hacking Strategy

    Growth Hacking Strategy

    Growth Hacking Strategy

    para Art Vessel

    During my individual project for the Master of Design and Innovation, me sumergí en el desarrollo de una estrategia de crecimiento específica para Art Vessel. Este enfoque se centró en ampliar la presencia y el impacto del estudio de arte, resaltando la importancia de los talleres como un producto clave para el crecimiento acelerado. Realicé un análisis exhaustivo de los productos y servicios ofrecidos por Art Vessel, identificando oportunidades y desafíos en su estrategia actual. Poniendo un énfasis especial en la inmersión en la experiencia del usuario, la estrategia de crecimiento abordó la necesidad de dar a conocer los talleres mediante un enfoque de growth hacking, con el objetivo de aumentar la visibilidad y participación de nuevos usuarios.

    Además, exploré tácticas a corto, mediano y largo plazo, incluyendo iniciativas de retención y monetización, diseñadas para consolidar a los usuarios existentes y atraer a nuevos, enriqueciendo así el ecosistema de Art Vessel en el mercado del arte de Madrid.

    Art Vessel es un estudio de arte centrado en expandir el valor del arte mediante la creación de experiencias inmersivas que conectan el conocimiento con las emociones.

    Ofrecen tres productos principales:

    1. El Pase de estudio, que permite explorar los conceptos y obras de artistas a través de una experiencia multidimensional;
    2. La venta de obras de artistas;
    3. Y talleres recientemente introducidos, donde los usuarios pueden entender el proceso artístico y conectarse a través del arte, basados en la técnica de papel, lo que permite a los usuarios manejar fácil y rápidamente conceptos artísticos de manera divertida y creativa.

    Nuestro público objetivo son personas jóvenes con interés en el arte, la cultura y actividades sociales, ofreciéndoles la oportunidad de aclarar su curiosidad artística y emprender un viaje de autodescubrimiento.

    Cuantos más talleres realicemos, mejor. Es como nuestra brújula que muestra que estamos en el camino correcto, que será nuestro Norte #NorthStar señalándonos hacia el éxito con las ideas y experimentos en esta propuesta.

    En cuanto a la estrategia de growth hacking, se propone implementar tres ideas para la adquisición de usuarios. La primera consiste en incluir contenido educativo en anuncios pagados de Instagram dirigidos a personas que ya siguen cuentas de arte. La segunda implica tener contenido en video en parte de su espacio de galería, accesible a través de un código QR en anuncios. La tercera idea busca vender talleres a escuelas de diseño como el IED. La métrica para evaluar el éxito de estas estrategias será la cantidad de clics en los anuncios.

    La idea que hemos seleccionado para implementar es la primera. No implica que una opción sea inherentemente superior a la otra; podemos aplicar todas las ideas en un proceso de iteración. Sin embargo, optamos por esta primera idea para implementarla de manera más rápida, considerando factores como el impacto, la confianza y la facilidad, teniendo en cuenta el costo, la orientación, el control y las variables presentadas.

    En cada etapa, identificamos eventos que podrían llevar a que el usuario abandone el proceso, y para cada uno de estos eventos, desarrollamos diferentes experimentos con el objetivo de lograr la conversión deseada. Mantenemos nuestro enfoque en nuestro Norte #NorthStar, representado por el número de talleres realizados.

    Tomemos el ejemplo de cómo Art Vessel puede ejercer un mayor control y dirección a través de los anuncios pagados en Instagram. Al crear anuncios de manera específica, la empresa puede influir de manera diferente en un público objetivo en comparación con el control sobre las personas que asisten a eventos de La Causa o perfiles de estudiantes del IED.

    Como cliente, es posible que te estés preguntando cuánto se necesita para iniciar esta idea. La respuesta es sencilla: solo requieres 12 euros por semana. Además, compartiré contigo la información mínima necesaria para evaluar la efectividad, como la tasa de clics, y determinar si la idea está alcanzando los resultados deseados.

    Después de adquirir usuarios potenciales, es el momento de activarlos, donde toman medidas y se convierten en usuarios activos y comprometidos.

    At this stage, we pay attention to what customers do after clicking on our Instagram ad to understand their actions and discover why they might leave.

    These are the steps users take after clicking on the ad, identifying them in 3 phases.

    For each step, we identified events that may cause the user to leave, and for each one, there are different experiments to apply in terms of getting that conversion we are looking for.

    Our North Star is the number of workshops conducted.

    Una vez que los usuarios acceden a la página de destino, su objetivo es elegir un taller, pero pueden optar por no interactuar. Para abordar este escenario, hemos ideado un experimento que motiva a los usuarios a avanzar al siguiente paso. La propuesta ganadora consiste en incorporar un banner superior estático para suscripciones, con el propósito de recopilar datos y proporcionar otro canal para presentar el producto.

    La elección de esta idea se basa en su capacidad para generar impacto, ejercer control y reducir el tiempo de entrada y salida, lo que la convierte en una implementación más rápida y eficaz.

    Al explorar las diversas opciones de programación, la elección del taller puede resultar distractora y confusa para los usuarios. Esta idea triunfadora se orienta directamente a un público específico, sirviendo como un recordatorio de que están pasando por alto una de las mejores experiencias que Art Vessel tiene para ofrecer.

    ¿Quién no desearía tener clientes recurrentes? Para Art Vessel, esta perspectiva se vuelve alcanzable mediante estas estrategias de retención.

    A corto plazo, nuestra meta es continuar atrayendo nuevos usuarios, y para lograrlo hemos diseñado las siguientes estrategias:

    1. Ofrecemos un descuento adicional después de completar un taller y desear participar en otro. Además, al referir a un nuevo usuario, ambos reciben un 20% de descuento en su experiencia artística.

    2. Después de participar en cinco talleres, te conviertes en un usuario recurrente de Art Vessel y, como muestra de agradecimiento por tu lealtad, te premiamos con un regalo especial.

    A medio plazo, introduciremos los Kits AV, que son los mismos utilizados durante los talleres y estarán disponibles para su compra. Esta propuesta permite a los participantes repetir la experiencia y compartir el kit con otras personas. Cabe destacar que esta opción no implica que realices el taller por ti mismo, ya que cada pieza es única, proporcionando así una experiencia distinta en cada sesión. Esta idea no solo fomenta la repetición de la experiencia, sino que también abre oportunidades para ventas adicionales relacionadas con el producto.

    Adicionalmente, como miembro destacado de la comunidad Art Vessel, tendrás la oportunidad de convertirte en el “Mejor Vendedor” (#Bestseller). Esto implica la participación en una exposición exclusiva para clientes, donde podrás exhibir y potencialmente vender tus obras de arte. Invitar a un acompañante y ser parte de este evento artístico, cultural y social no solo fortalecerá tus conexiones, sino que también será una plataforma ideal para el networking.

    A largo plazo, hemos planificado la implementación de un programa de membresía que ofrecerá descuentos especiales durante todo el año y sorteos de Kits AV en distintos momentos del año. Este enfoque a largo plazo busca recompensar la fidelidad continua de nuestros miembros y mantener viva la conexión con la comunidad Art Vessel.

    Sarah, but how much will the workshop cost?

    El plan de precios ha sido meticulosamente diseñado como una parte integral de nuestra estrategia. La pieza central de este enfoque es la opción Pro, que te brinda la experiencia completa en tan solo dos horas.

    En nuestra oferta actual, contamos con las categorías Amateur y Pro. Además, hemos incorporado la opción Advance, especialmente pensada para aquellos que buscan la versatilidad de participar en cinco talleres. Esto les permite trabajar en un formato más amplio o aprender a crear diversas piezas de arte en papel de Art Vessel.

     

    Esta estrategia de growth hacking fusiona el compromiso creativo mediante la implementación de experimentos de bajo costo. Con un enfoque constante en la optimización, cada taller se transforma en una obra maestra única, y cada usuario se convierte en una parte esencial del próspero ecosistema de Art Vessel.

    Presentation Day

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    Sarah Tió | Architect | Designer | Strategist | Innovator | Project Management 

  • VIZAAR

    VIZAAR

    V I Z A A R

    Invest in Spain's artistic future

    Vizaar is the result of the group project in the Master of Design and Innovation developed over a period of 9 months, Vizaar is the outcome of a group project in the Master's in Interaction Design (MDI) at IED Madrid. My teammates and I conducted research on the global art market, with a specific focus on the Madrid ecosystem, aiming to uncover challenges faced by artists and related stakeholders.

    Design Research

    During the initial 3 months, our focus was on data collection, analysis, and understanding of the problem. We identified opportunities and developed the project with a business-oriented approach, encompassing strategy, communication, and brand design. The process was iterative, leading to the development of VIZAAR, an online platform that aids in diversifying portfolios and reaping benefits from a growing investment over time.

    First pitch

    Initially, we focused on restaurant owners as a potential buyer persona, considering that many restaurants in Madrid showcase beautiful artworks to attract customers and create unique atmospheres. Our initial presentation analyzed the opportunity to build a company that could simultaneously assist both artists and restaurant owners.

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    Final Assets

     Finally, in the iteration process, we had to redefine the idea of bridging these two worlds within the restaurant ecosystem to aim for a viable solution to the challenges faced by both artists and restaurant owners.

    We streamlined our startup by focusing on an art market, and during the validation process, we specialized in art investment to enable a viable business operation. This is how Vizaar emerged.

    Website

    La Marca y sus directrices 

    Presentation Day

    Process

    This project turned out to be an enriching and transformative experience. The methodology design thinking applied methodology provided us with a user-centered approach and fostered empathy, allowing us to delve deeply into the needs and challenges of both artists and restaurant owners.

    Embracing the research phase allowed us to gain a more comprehensive understanding of the intricate ecosystem within the art market and the restaurant sector in Madrid. This profound knowledge was essential for making informed decisions throughout the process.

    The constant iteration, a fundamental characteristic of Design Thinking, provided us with the necessary flexibility to adapt as we discovered new insights and adjusted our approach. This experimental and collaborative focus fostered creativity and innovation at every stage of the project.
    Finally, by focusing on the solution and clearly defining the problem we were addressing, we were able to simplify and direct our project towards the creation of Vizaar—a more robust and specific proposal that addressed the identified needs.
     
    Ultimately, flexibility and adaptability were crucial in turning challenges into opportunities and shaping a forward-looking project. It guided our development process, enriched our understanding, fostered creativity, and, ultimately, allowed us to transform challenges into opportunities with a clearer, user-centered vision.

    Sarah Tió | Architect | Designer | Strategist | Innovator | Project Management 

  • Máster Diseño e Innovación

    Master of Design and Innovation

    Have you heard that in this year 2023 I will be living in Madrid?  Winners MDI at IED Madrid

    Perhaps you may wonder about the topic I will address in the motivation letter to apply for the scholarship and become a winner of this opportunity. Well, I have chosen to be completely honest about my thoughts on architecture and design in general. It goes beyond a creative mind; it is about being project developers and seekers of opportunities.

    How can a Master's in Design and Innovation contribute to current technological advances and the future of work

    Design Realities Not Utopias

    Perhaps you have heard the iconic phrase by Paul Rand: 'Everything is design, everything!' It is asserted that design is as ubiquitous in human life as breathing. We are constant consumers of it, with no escape, unless you are a wild nomad. But at some point, we will reach the stage of creating objects, methodologies, or strategies for well-being, much like our ancestors did when they began to tame fire.

    So far, we have associated the word 'design' with an idea of innovation and other terms related to creativity. However, with the passage of time and immersed in the working world, it is recognized that this is only the tip of the iceberg. It's like having a downloaded song, with this being the final product intended to be consumed, but we do not see the entire production and distribution necessary to generate economic assets each time it plays.

    Having said that, an idea entails development, a relationship of knowledge, and applied creativity in problem-solving. Project management requires as much creativity as the design itself, and the best projects commence with planning and execution to meet needs. Therefore, it is relevant to mention that architects possess a visually expansive field and it is fundamental in their way of operating. The conception of a proposal starts with a needs analysis, understanding the formulation of the problem to identify opportunities.

    Each expressed line is a response beyond aesthetics. It is also an understanding of how value is created, processed, and how the economy functions. Each idea formulation is linked to the awareness of analyzing the impact it can have and the role it can play as a catalyst for change. By stating that design is an agent of change and that architects are project creators, pursuing a Master's in Design and Innovation (MDI) allows you to develop skills to become better leaders, opportunity identifiers, and value proposition generators, achieving a convergence between design and business. This way, innovative solutions are offered in the construction of both physical and virtual realities.

    After the resurgence following the exit from the confinement caused by the pandemic that began in 2020, we perceive how technology has not only become the center of attention but also an essential tool in the workplace. Video calls, hybrid work, and interconnectivity have come to stay and, furthermore, to evolve.

    We can identify a duality between the physical and the virtual that allows for the creation of realities along with opportunities. It is an infinite and purely commercial field with the goal of acquiring digital assets, such as properties in the metaverse for rental purposes, offices, museums, and non-fungible symbolic art. A field full of possibilities that will not only lead to the shift of becoming 'phygital' bilinguals but also generate more jobs and increased specialization in various professional fields.

    Virtuality is a virgin territory full of possibilities and a utopia without limitations of the physical world. Architects navigate the physical-digital language from their training, given the need to express what they have conceived and make it tangible. Therefore, there can not only be businesses in the tangible realm, but through their digital projection, two presentable platforms of assets can also exist.

    By leveraging this duality, along with the tools provided by this MDI and understanding the opportunities in technological advancements, we will be prepared to face the new economic, social, and business paradigms of the future, both in physical and virtual encounters.

    Sarah Tió | Professor of Architecture and Design

  • Materiales y Técnicas de construcción I – Septiembre – Diciembre 2022

    Construction Materials and Techniques I – September – December 2022

    🗯️ In this semester in the @ead_pucmmcsd I am teaching Construction Materials and Techniques I again. 

    👩🏽‍🏫   Hasta el momento hemos realizala unidad ad 2: Los materiales y su uso en la historia y concluimos la unidad 3 y 4: Materialnuevosvos y tradicionales con una práctica previa al primer parcial, realizando la inspiración de su propuesta con materiales reales. 

    Gracias a @dlaarquitectos por prestarle sus instalaciones y su biblioteca de materiales. 

    Aquí les comparto los resultados de los estudiantes.

    Sarah Tió | Professor of Architecture and Design

  • Proyecto Arquitectónico VI – Septiembre – Diciembre 2022

    Architectural Project VI – September – December 2022

    🗯️ The 6 projects to be developed in this period September December 2022 in the subject of Architectural Project VI in the @ead_pucmmcsd.

    👩🏽‍🏫  Con enfoque ene a la alta demanda habitacional en la Ciudad de Santo Domingo y su periferia, realizamos un análisis de la situación actual del turismo y bienestar con el objetivo de formular tipologías de uso mixto e innovadoras para ser desarrollados durante este cuatrimestre.

    • Los resultados son 6 proyectos a desarrollar en parejas y grupos de tres.
    1. Plataforma acuática comercial residencial por Sindy, Amy y Sheedhartha.

    2. Communal Commercial Villa by Gabriela and Diukeidy.

    3. Residencia Cultural Dominicana para Marian y Edmirla.

    4. Campamento y Estadio Deportivo para Daniela y Paula.

    5. Officetel Mirador Botánico por María y Manuel.

    6. Dominican Gastronomic Center by Linette and Francheska.

    💬 These are some collages of the students made for the definition and formation of the typology of the project.

    ¿Cuéntame, cuál propuesta quieres ver?👇🏽

    Architectural project VI – Professor: ST

    ▪️ #learnwithst #designwithst #sarahtio

    #teaching #architecture #architecturedesign

    We implement the Design Thinking methodology to make the resolutions of what projects we are going to design. 

    Sarah Tió | Professor of Architecture and Design

  • Representación y Comunicación II para Arquitectos

    Representation and Communication II for Architects

    👩🏽‍🏫 Last period I taught Representation and Communication II for architects and it was a challenging subject 🎯because it is positioned right in the transition where the student goes from carrying out projects by hand to developing a presentation and documentation with the ideal use of digital.

    💬 This course aims to develop skills that facilitate the proper representation and communication of projects through the application of digital tools, such as BIM modeling (BUILDING INFORMATION MODELING / MODELING INFORMATION FOR CONSTRUCTION), in a two and three-dimensional way. and of the particularities of constructive representation:

    Specifications of materials and construction techniques necessary to make a set of plans, understanding that the executive project makes the construction of the architectural work feasible.

    💡As an exercise we took the last project that the students had carried out in the subject of architectural project II, to do it again with correct documentation in plans, modeling and digital presentation.

    • Here I show you two of the projects, carried out by the students of @ead_pucmmcsd Nathalia De León y Emely Romano.

    This course had the support of @Graphisoftdo and as motivation the best project presented and documented was selected, winning a renewable license of Twinmotion, an architecture software to make realistic views. 

    To see the winner click on this link and read the publication:

    Sarah Tió | Professor of Architecture and Design

  • Design Thinking / Elevator Pitch para Emprendedores

    Design Thinking / Elevator Pitch para Emprendedores

    Are you wondering what design has to do with solving #Startup problems?

    And even more, what does an architect have to do with being part of an Entrepreneur Bootcamp facilitator?

    Well, within my training and passion for design I have come across the Methodology Design Thinking and seeing design from a broader spectrum and the good results in case studies, I achieved the certification with the purpose of blowing the creativity head and thinking outside the box #outofthebox to professionals beyond the Architecture and Design career of Interiors. 

    When we talk about Design Thinking, we are talking about design in its broadest meaning to design products or  servicios a nuestro cliente o usuarios. Tal como dice, Paul Rand: Todo es diseño ¡Todo!

    Through this workshop we see how we can take advantage of the philosophy behind the methodology to really innovate and build value in organizations independently, whether it is a small, medium or large company, and design the experience that we are going to offer.

    Actually Design Thinking is less about thinking and more (much more) about doing. Achieving true disruptive innovation by designing cult products or services. 

    It has an user centered approach to troubleshoot. Interested in learning about the context and its needs. 

    Based on the knowledge we have of the user, suffering and joys, what he likes, understanding him well as a person, we leverage on that to develop products that satisfy needs. 

    It is a methodology used to solve complex but from action. It seeks to deepen the user's understanding through iteration. Which helps find new perspectives strategically to solutions.

     

    However, When can Design Thinking help to innovate and build value?

    For when uncertainty is high…

     

    Hay que tener cuidado con esto, pues la metodología no aplica para todo. Aplica para los que llamamos #wickedproblems los problemas perverso y malvados, es decir problemas que no están bien definido. Para ponerlo en contexto, si le pregunto a ustedes cual será la solución para resolver problemas el trafico del polígono central. Habra miles. Atacamos esos problemas perversos o malvados primero centrándolos en tratar de definir cual es el problema y enfocar la solución. 

    As indicated by the methodology, carried out in 5 fundamental actions:

    1. Empathize: We begin with an understanding of the current health situation in the Dominican Republic. Understand what is happening and how it is developing, through practices delivered online.

    After this, we carry out a face-to-face workshop that through an activity assigned by times of 15 minutes in order to optimize the learning flow in a time period of 45 minutes, we carry out the following three (3) phases:

    2. Define: We filter the information collected during the empathy phase and we keep what really adds value and leads us to reach new perspectives to propose the typology.

    3. Ideas: Without limiting thought, that is to say that no idea is bad, on the contrary, quantity over quality we brainstorm, expansive thinking where anything can go and sometimes the rarest ideas are the ones that generate innovative solutions, we translate the definition into architectural language .

    4. Prototype: We build possible models of typologies that will help us give shape to what until now was an idea or concept. From now on, there is already a possible project, something that we can visualize.

    With this activity, the entire section divided into groups, we were already on the same page to be able to carry out the last phase.

    5. Evaluate: Linked with the previous phase in which we had created possible typologies, now together we analyze the reality of something that was ethereal. Once obtaining the results of an evaluation matrix, we incorporate the conclusions to improve the resolution.

    In this last step, we were able to identify which prototypes were similar or had common elements to be able to join or discard when giving the innovative solution. 

    As stated by David Kelley, creator of the methodology, founder of IDEO and professor at Stanford University, where the methodology was studied and applied. “We are not experts in a specific knowledge. We are experts in the process of how to innovate!” 

    17 Entrepreneurs were participants of which a group of 3 was formed, because regardless of the industry for which they serve, Design Thinking focuses on the client and their experience to provide innovative solutions to the high uncertainty of execution and market.

    Allowing to unify undertakings with problems at the end, devise solutions, prototype and evaluate them. 

    Thank you Universidad Nacional Pedro Henríquez Ureña for being part of this Bootcamp as a facilitator and starting it. 

    https://issuu.com/sarahtio19/docs/design_thinking_-_pensamiento_creativo_st_compress

    Sarah Tió | Professor of Architecture and Design

  • A través de mi lente…

    Through my lens...

    BOOK OF PHOTOGRAPHS 2014-2020

    📍around the world…

    There is a world out there full of diversity, culture, languages, landscapes, climate, countless tangible and intangible elements, sometimes similar to our context and many times the opposite. Either way, it is sure to enrich us as a person and our thinking chip.

    From a very young age, I have been struck by what a parallel world would be like where everything I believe to be could be different, changing my reality; each trip allows me to realize once again that what is seen is not only what it is, but what is much more.

    A photo not only captures an image, it captures moments, anecdotes, wishes, goals and the like. Every trip brings learning, something new. It is one more page of a book or a new cover. You decide how you mark that moment, a beginning, an appetizer or an end.

    I would like to tell you that at almost 30 years of age I have been able to travel almost all over the world, but I would like to tell you that my travels have marked the path of my life, so there is still a long way to go.

    When I was 14 years old, I was able to fulfill one of my goals, to put my feet on a plane and get to know another context that was not my piece of the island.

    My first arrival was in New York City and even today, with the experiences I have, I still say that it is one of my favorite places. Beyond what is known, like the island of Manhattan, is that each part has a history, which not only marks a local historical fact but also a worldwide one. The great diversity of cultures in this state of the United States undoubtedly has a “Je ne sais quo” (I don't know what) that makes me love coming back.

    This is me 🙂 
     
    Happy in each new location and very grateful that I have been able to visit more places over the years.

    Sarah Tió | Professor of Architecture and Design

    Español

    English

  • Los Materiales y el Concepto

    Concept and Construction materials

    LOS MATERIALES EN LA CONCEPCIÓN ARQUITECTÓNICA

    Materials take on great importance in architecture as they can influence the conception of the project, remembering that the idea becomes matter thanks to the construction materials. It is also proven that they influence our mood and our comfort. For example, the warm touch of wood or the cool touch of metal.

    From this we will see the materials in architecture from three points of view.

    1. As an adjective. To express a quality.
    2. As a structural solution. As part of a whole.
    3. As a conditioning factor. As part of the composition. 

    01 AS AN ADJECTIVE

    This is the description of the Sao Paulo Art Museum by Lina Bo Bardi. With just words describing the material you can already imagine the space, the environments and the sensory experience. 

    Right in the space you are in right now, you can see 4 pillars and two beams; and maybe it is no more than 12 square meters, because Lina Bo Bardi used a 12 m distance of prestressed concrete beam between pillars. 

     

    Under the guidelines of the Brutalist Architecture of Brazil, at the time of the Brazilian military dictatorship where the modernist style was put into practice to express national identity.

    The works, made of reinforced concrete, prioritized height, and many residential buildings shared space with businesses.

    Here we can see the materials used and what they were referring to when mentioning a large suspended volume. gran volumen suspendido. 

    I give you this example to understand that materiality is the process where the idea becomes matter. This implies the handling of the material as a base element to make the applied concept a reality through the appropriate construction technique to be executed.

    Materials are essential in the process of creating environments and manipulation of spatial volume such as surface treatment. 

    Everything can be an inspiration to create a detail or a differentiating element in your project.  I share a "tip", which I think is the best advice. The first thing you have to do to find the ideal material for your project is to go to the street. This is why my recommendation is that from now on, we are going to touch, smell, see it and be able to discard ideas. 

    When doing this, think about the durability of a material and its possibilities to create. 

    As designers, we must study the type of materials or elements to be used for the design. 

     

    02 AS A STRUCTURAL SOLUTION

    This quote could be understood as the perfect definition of the building, understood as a body that seems to float, whose expression varies throughout the day and appears oblivious to its surroundings. 

    The characteristic element of the building is its "hanging" arrangement of a structure located at the back, which together with a second glass façade maximize the lighting inside the block. Achieved thanks to the innovation of the structural system used.

    Donde a partir de un núcleo central, marcado en amarillo,  en la ilustración anterior, se levantan pilares provisionales para hacer colgar un sistema de muro cortina suspendido, logrando el efecto planteado en el concepto. 

     

    Fuente: Canal Youtube Ter

    Materials play a fundamental role in the idea of ​​a building that floats. In addition to creating an innovative structural system, in the aesthetic part, the materials emphasize the concept even more. 

    Generating a strong contrast between the two, the glass representing the lightness of the tower seeming to fly in the Paseo de la Castellana, the travertine representing the heavy part, the stereotomic: It is the massive, stony, heavy architecture that sits on the ground as if it were born from her.

    Another trick they use to deceive our eyes is the division of the glass pieces on its façade, since it makes us lose the notion of scale, we do not distinguish the exterior from the outside and it gives the sensation that the tower is much higher than the 11 levels they contain.

    The materiality makes its facades change color as the day progresses, just like the light. In Madrid, creating a glass box is complicated by the summer. To do this, a second layer of glass is placed and allows air to circulate between them, in this way the hot glass air between the two layers rises and is released naturally through the upper part, something like a very delicate glass fireplace. . Supported by glass ribs in the 70's.

    The second part of the materials analysis process is to ask: How are we going to look at these materials to be innovative? For example, in blacksmithing, what things can be done with iron? How can we be innovative?

    Now imagine that you are commissioned to design the roof of a multipurpose pavilion, the fact is that now you have many options, but the city council tells you not to fall. It arises they question based on which of this falls less. Entonces,

    Now imagine that you are commissioned to design the roof of a multipurpose pavilion in the event that you now have many options. But the town hall tells you not to fall. What would be the correct geometry?

    Simple: The natural geometry that a chain has and falls under its own weight, made either in materials cast under a mould. 

    03 AS A CONDITIONER OF THE FORM

    Another piece of advice is that from now on, we are going to touch, smell, see the materials in order to rule out ideas. 

    Al hacer esto, piensa en la durabilidad de un material y en qué situaciones se pueden utilizar. 

    Another case study to analyze materials as conditioning factors of form is the SEED PAVILION, the UK pavilion at the 2010 Shanghai Exhibition, by the Heatherwick architecture studio. 

    From a daily activity arises the base of the idea for the development of this pavilion, let's see:

    The concept becomes matter through 7.5 meter long “branches” that contain seeds forming a large seed. 

    The requested goal to meet the key expectation was for the pavilion to become one of the top five most popular attractions at the Expo. Based on two clear objectives, the first objective was to design a pavilion whose architecture was a direct demonstration of what it was exhibiting. The second objective was to secure a significant area of ​​public open space around it so that visitors could relax and choose to enter the pavilion building or view it clearly from a quiet, no-queue vantage point. And third, it would be unique among hundreds of other competing pavilions, events and programs.

    The result was a tall, six-story structure studded with 60,000 translucent rods that act as fiber optic strands channeling sunlight into the pavilion. 

     

    As a reflection, it is very important to know what can we use and what not, what can we metaphorize and that entails everything that we are putting in our design. 

    Sarah Tió | Professor of Architecture and Design

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