This paper investigates how historical models of communal architecture—such as the Corralas and Corrales de Comedias—can inform contemporary approaches to urban regeneration through a spatial understanding grounded in social interaction and transformation. Drawing on the theories of Henri Lefebvre, Richard Sennett, Rafael Moneo, Aldo Rossi, Jan Gehl, Jane Jacobs, and Kevin Lynch, the research explores how architecture operates as a living, performative framework shaped by everyday use, memory, and collective presence. These insights converge in the case of La Galera in Alcalá de Henares, a disused women’s prison marked by complex historical layers. Here, the project embraces the transformative potential of adaptive reuse—not by replicating historical forms, but by translating their spatial intelligence into contemporary design strategies. Ultimately, the work positions communal space as a platform for social negotiation and urban continuity—where memory and use shape new architectural possibilities.

Beyond the Black Box proposes a radical transformation of how citizens interact with digital infrastructure and cultural archives through architectural intervention at Madrid's Plaza de Colón. This project addresses a critical democratic crisis where massive digital systems—data centers consuming 613 MW of power and 665 million liters of water annually, alongside cultural archives increasingly training AI systems—remain invisible and inaccessible to the citizens they serve.

The project confronts three interconnected "black boxes" that undermine democratic participation in the digital age: Infrastructure Invisibility through data centers hidden 8-12 kilometers from Madrid's center; Archive Digitalization that transforms physical collections into abstract digital processes without public engagement; and Digital Literacy Gaps caused by the absence of civic spaces where citizens can understand and participate in algorithmic systems.

Located at Plaza de Colón—a site that has evolved from Royal Mint to National Library to public plaza—the intervention creates a new civic typology employing a cloud-fog-edge computing framework that reveals resource flows while integrating technical functions with public programs. Three programmatic axes converge at a central data center: the Digital Infrastructure Axis features transparent server rooms that transform technical systems into educational features; the Digital Archive Axis connects to Spain's National Library through visible digitization labs; and the Digital Literacy Axis provides hands-on workshops and AI-integrated study spaces.

This hybrid architecture materializes the shift from static containers to dynamic circuits in memory practices, establishing a new civic institution where cultural heritage is continuously activated through technological engagement and democratic participation. The project demonstrates that architecture can transform traditionally separate systems—hidden data centers and digitizing archives—into integrated civic platforms that serve both knowledge preservation and democratic resilience, creating spaces where citizens become active participants in their digital future rather than passive consumers.

In the post-extraction landscapes of the Rheinisches Braunkohlerevier, the relationship between water and matter no longer follows natural rhythms—it is charged, reactive, and unfolding. Here, contamination is not a singular event but a condition that accumulates, binds, weathers, and seeps across geological and temporal scales. Conventional restoration frameworks respond with binary visions of compensation and separation. This thesis takes a different approach—remaining within the unsettled terrain, it traces the transformations already in motion.

Water, long drained to make space for mining, returns to a stratigraphy fractured and unsettled by decades of extraction. It moves through disrupted sediments, activating chemical reactions that carry heavy metals and acidity through soil, into groundwater, and toward the surface. Matter does not passively receive these flows; it absorbs, resists, and transforms them. This interaction forms the foundation of the thesis: a material practice rooted in territorial specificity, where design engages the dialogue between dissolution and deposition, contamination and gradual reconfiguration.

By reworking site-bound matter, the project proposes infrastructural prototypes that respond to their environment not through resistance, but through participation. Each intervention is situated, embedded in cycles of absorption, stasis, and release. Rather than proposing resolution, the thesis offers a framework for ongoing negotiation—where design operates within, rather than above, the entangled realities of water and matter.

This thesis investigates ambiguity as a productive architectural condition, particularly through the lens of terrain vagues: urban spaces defined by contradiction, indeterminacy, and temporal fluctuation. Based on critical philosophical frameworks, the research examines how ambiguity, often regarded as a lack of clarity, can instead become a catalyst for more sustainable spatial practices. The study begins by tracing the inherent qualities of terrain vagues and identifying their potentials. It then moves toward a design-oriented investigation, exploring how empirical analysis can abstract these qualities into operative tools. Ultimately, the paper proposes a framework for integrating ambiguity into the design process—not as an aesthetic byproduct but as a deliberate mode of engagement that challenges conventional binaries and embraces multiplicity, adaptability, and ecological sensitivity in architecture.

How to build a paradise on Earth?

This question forms the foundation of a thesis that explores the urgent need for refuge—both from climatic extremes and from the sensory overstimulation that defines life in contemporary cities. Situated in Madrid—one of the cities most affected by the urban heat island effect worldwide—the project investigates the concept of refuge as a spatial, ecological, and cultural condition within the urban fabric.
Focusing on the Casa de Campo—Madrid’s historic royal retreat—the thesis re-examines the intertwined relationship between nature and culture. Drawing on Madrid’s origins, founded on and shaped by water, the project reinterprets the city’s current, lost connection to this essential element. By embracing low-tech strategies and taking maximum advantage of natural conditions, the intervention activates water and the diverse life forms it sustains, making its temporality and microclimatic effects both physically and sensorially perceptible.
Engaging with symbolic, historical, and technological precedents, the thesis envisions a site that redefines refuge—not only as shelter, but as a space for balancing human and non-human forms of regeneration, thereby aiming to reconnect people with their natural environment. Through an interdisciplinary, body-centric approach, the project explores how design can enter this balancing act in order to construct a contemporary form of paradise.

Contemporary cities typically employ a linear metabolic model which relies on peripheral areas to support their growth and operation, often externalising waste and degradation to economically and ecologically vulnerable areas. Posing the hypothetical question, ‘What if the existing metabolic processes of extraction, production and disposal in Madrid’s periphery could be rethought, and a socially, economically and ecologically productive process could be instated for peripheral communities?’, this paper constructs a theoretical framework with which to understand systems of waste and inequality embedded in the city’s growth and operation, and analyses the historical patterns of growth which proliferated them. Following this understanding, contemporary problematic symptoms emerging from these patterns are identified, and a set of good practices is compiled which may effectively address them. This project takes a critical stance on the tabula rasa form of urban redevelopment commonly employed in Madrid and posits that an alternative model of urban development should be estalished, one which embraces plurality and uses existing built fabric and social, ecological and economic processes as a starting point

This research paper aims to explore performative dissident practices within the context of Madrid, focusing on how architectural practice can gain insights from these practices to inform the design of interventions or conditions that foster empowerment, particularly for vulnerable communities. The intention is not to provide a socio-political critique, but rather to advocate for the significance of these urban battlegrounds as pedagogical instances that can enrich architectural discourse. Therefore the research seeks to answer the following question:
How can architectural practices, focused on contested urban environments, draw from the dissident practices manifested in the built environment and thus foster resilience for the vulnerable communities?

In the rising action of the research, the paper first constructs a methodological and theoretical tapestry, developing a lens through which to conduct a site analysis. This is done by employing architectural analytical drawings, as well as narration and experimental writing, to highlight the more latent, experiential aspects of dissident practices. The climax of the research applies this lens to three squares within Madrid’s most vulnerable neighborhood, Embajadores/Lavapiés. In the falling action, the research delves deeper into the site of choice and its significance for the project and expands on the conceptual framework that can be applied towards a design of conditions.

The foodscape of a city is a complex set of systems and actors that is directly linked with the city through the acts of producing, processing and consuming food. These acts shape not only the surrounding hinterland but also the environment, infrastructure and social make-up of a city. The relationship between the city and this hinterland has almost completely disappeared over the last century. This has negatively impacted the way food is valued which has caused negative consequences such as environmental degradation, disappearance of relationships and knowledge, and a worsening of both human and animal welfare.

The focus of this project is to reestablish this lost relationship through an architectural project that reintroduces historic conditions and practices and combines them with contemporary flows and actors to form a program that fits the 21st century. This will result in a pilot project which will demonstrate how architecture can have a central role in reestablishing the relationship between consumer and the food they consume, and thus the creation of a sustainable foodscape, resulting in healthier and happier cities.

Current waste management practices pose a significant threat to humans, animals and our environment, contributing greatly to environmental pollution. Furthermore, the speed and the way we consume and dispose of things is changing rapidly, leaving us with little time to react to this global issue; particularly in urban centres, seeing that the cities have become the centre of flows and exchanges. This thesis investigates how architecture can enhance these networks in order to enable necessary economic, environmental and social transformations. It challenges the linear production-consumption-waste model driven by capitalism and explores the potential for creating resilient, self-sustainable cities through circular network flows.
Focusing on Madrid, the project proposes the reintroduction of urban manufacturing within the city to establish sustainable (textile) material flows. By ‘weaving’ this new program into the city's existing urban and material fabric, and reclaiming the former industrial site, the project envisions a space dedicated to textile innovation. With the intention of extending to other industries in the future, fostering cross-industry synergies and potentially acting as a catalyst for broader sustainable practices.
Architecture has a potential to serve as a catalyst of the change, by embodying the principles of sustainable production, rethinking the flows of material and embracing the interconnectedness of systems, communities and environment. Considering the industrial history and context of the site, the project reimagines the underutilized area as an innovation hub, contributing to a more resilient urban future.

The research hypothesis is that extensive layering and apparent modifications in the San Isidro area along Manzanares, dictated by the necessity of expansion, have changed the site’s everydayness. As a result, patterns of continuities and discontinuities began to take over the area, which needs to be addressed in the contemporary context and life of the city. This calls for an architectural intervention which aims, beyond the project itself, to the seamless transition of current and future everyday rituals. Due to urban stratification, there is an accumulation of multiple functions, atmospheres, daily rituals and routines over the greater area of San Isidro. In particular, the San Isidro, San Justo and Santa Maria cemeteries, alongside the park, festivities, and infrastructural networks, pose a convoluted environment where the different functions compete for prevalence. Simultaneously, their borders blur, putting the contemporary rituals in danger instead of promoting their evolution/development along the urban context. Furthermore, the city’s current and future development plans treat the areas mentioned above as sites of additions; it is not interested in preserving or developing existing characters; rather, it imposes new ones. Instead of trying to solve or alleviate the complex current state, it adds more layers to the existing ones. The graduation projects need to act as a reflection and critique of the current situation.

Soil extraction results in different material qualities. Some products, like coal, are affiliated with industry and pollution. Others, such as marble, equal to perpetual wealth and aesthetic. In the region of West Macedonia, in the North of Greece, those qualities coexist in the form of mines and quarries, creating a material network. With starting point the difference between marble and coal, the research investigates extraction practices as a multilevel topic, an ever-growing field where artificial and natural landscape blends. In the possibility of extraction sites closure, questions emerges in regards for the impact in city, environment and humanity sites towards a future transition. Those sites wound create a new archaeology, signs of an era of Anthropocene and a wounded nature.

Hence research circulates around three themes. First it examines the Hinterlands as a system of operations carrying industrial production, following by the sites of extraction and the narratives around them, in pursuit of the spirit of place. The third aspect is a cognitive examination of the human position into those practices. A placement of human through craft proposes a rethinking of materiality and nature as active agents. This affiliation with non-human entities underlines a transition of culture into a caring state, creating an ecosystem sympathy. Goal is to find answers about the recovery of post-mining territories, the revival of this inert anthropogenic environment.

The notion of ornament is as intractable as it is central to our discipline. The considerable body of work delving into this topic, including recently, serves to illustrate the ongoing interest of our societies for architecture that exudes character. We will explore the ornament from the prism of labour forces, defining the contours of an emerging type of workers we will call the “neo-producers”. To do so, an outline of the theory of Western ornamentation will be sketched to contextualize the research. Consequently, we will delve into the neo-producer’s origins and definition. The worker’s unique characteristics compared to existing actors will be underlined as well as their close links with the mass-customization revolution. Then, their impact on architecture will be studied, arguing they could represent the key to producing feasible, expressive designs.
The disruptive nature of this new role will be underlined, as well as the opportunities it represents, notably to produce affordable, condition-specific ornaments. In a wider lens, the topic will be connected to important epochal changes like artificial intelligence, sustainability or technological acceleration, as the ornament reflects and materializes societal conditions. Of course, since the topic of the ornament is inherently a discussion about beauty and how to create it, there can be no definitive answer. However, we will see how many different factors come into play for a society to create ornamental systems it deems fit for purpose, and at heart, no individual change can lead to a ornament’s renaissance. There is hope, though, that the neo-producer could be the first step towards a more expressive architecture.

The institutionalization of the architectural practice has caused a linear life cycle that relies on the efficiency of mass standardized products, not only exacerbating ecological effects but also breeding mediocrity in architecture. An epistemic break from the creative and tangible process of craftsmanship, which has been marginalized as practice of the past. The aforementioned restrictive qualities of the practice have spurred the emergence of new counter ideologies in repair and reuse, which embrace the heterogeneity inherent in wear. The context of Madrid provides an opportunity to explore the idea of crafting wear, beginning with empowering an network of traditional crafters and extending to overlooked actors in material aging, enriching discourse and exchange of material knowledge towards a more mature attitude in hybrid design. The transformative impact of embracing wear in the urban fabric can cultivate a communal sensitivity towards architectural expression of material aging. In adopting a hybrid expression of wear, from the craftsman to the public, interweaving various knowledge domains carving a niche in the practice of architecture, that develops into a thriving network of skilled crafters in material wear.

Tourism has been more than ever integrated into a global chain and accessible worldwide. This planetary reach allowed small villages in pristine territories to be independent from the eyes of the extractivist industries and included in the economic development plans for the first time. However, this economic opportunity served as an instrumentalised discourse and exposed these areas to extended urbanisation, unsolicited industries and new forms of exploitation. This research delves into the multifaceted aspects of the tourism paradox: exploring the inherent link between tourism and infrastructure, including its impact on extended urbanisation, cultural-environmental exploitation, degradation and preservation opportunities.

With a specific emphasis on the indigenous riverine village of Alter do Chão in the Brazilian Amazon Forest, this research follows two main argumentative frames: It examines (1) the notion of tourism under the lenses of colonisation, to discuss accessibility and present the methods, designs and practicalities in which infrastructural development is implemented. Then, it advocates for (2) viewing the Amazon as an Altered Nature to explore the ongoing agency of local communities in the region. Finally, the project proposes alternative strategies for territorial planning, design and management, aimed at benefiting from the tourism industry to leverage agency and preservation of cultural and traditional practices.

An architectural project on Care, uncovering the mysteries and strengths behind the softness that Care brings. This project has been about both questioning and writing the role of Care in Architecture, and Architecture in Care. The project is situated on one street in the city center of Madrid. The street functioned as a sequence of stories, as a site of investigation of care, as a site for design intervention, as a connection between actors and building. In order to translate signs of Care into a building, five topologies were chosen. Each with different signs and scales of Care in an Urban context: Parish, Muur, Kitchen, Balcony, Props. The research of the one street and its five topologies is conducted using a mixed methods consisting of sampling, mapping, photography, writing, participatory observations. The results were translated into both a toolbox for Caring Architecture and a Caring building. The building itself showcases Care as affordances, Care as a choice, Care as a shield, Care as a wall, Care as a network. Because Caring Architecture allows, it should not shout.

How can we move from an extremely prescriptive institution to one that empowers not only the users of the building, but also the whole neighbourhood and, ultimately, the whole city?
A Victoria Kent Social Integration Centre, formally known as Yeserías Prison, is the main focus and starting point of my design.
Of the twenty-one prisons that operated during the Franco regime, CIS Victoria Kent is the only one still functioning as a penitentiary institution. The rest of the former prisons have been returned to their original educational or religious functions or, to bury an uncomfortable history, have been demolished and the land sold to profit-seeking developers for housing. This building contains an important part of the city's history, having originally been built in the late 1920s as a beggar's asylum, then as a prison for political prisoners and finally as a women's prison. Currently, the building serves as a social integration centre for third-grade male inmates.
The main ambition is to challenge the prison to become an open institution and a valuable asset to the city and the community. Both spatially and programmatically - how can such a structured and controlled space become an system that opens the guarded wall to the community and helps inmates make a more seamless transition back into society?

This research is rooted in defining the marginlands of Istanbul; comprised of the city’s backstages, cracks, and fissures. It proposes an intervention along the historic margins of the city’s Land Walls, now swallowed by urban sprawl and existing as an interstitial inner-city threshold. The lands of such margins harbour an air of latency, having recently been razed to the ground, or earmarked for oncoming ‘urban transformation’; one that can only be described as ‘hyper-commodification’. Local planning authorities commercialise lands historically hosting informal practice under the guise of creating common public space. However, the resulting parks, playgrounds or sports fields simultaneously erase the material and cultural fabric of such margins.
Through ethnographic research, the project documents and celebrates the hidden spaces carved out of the marginlands for marginal actors to co-exist in the relentlessly commodified city. I will introduce three Custodians doing so within the framework available to them: the Street Gleaner, the Moat Gardener, and the Last Inhabitant. The proposed intervention provides a physical and social framework to host such custodians, their practices, and the materials that have already seeped into the city’s fissures. This design proposes a toolbox of affordances at three scales: Territorial, Structural and Habitual, to foster a Contemporary Commons in this context. Enabled by the toolkit, it begins the transition away from the more precarious occupations of the Custodians towards more productive practices engaging a wider and more diverse network of actors associated with the chosen sites. The resulting Commons acts as a platform for enrichment of involved actors’ roles: master, teacher, pro-sumer, maker, activist, learner, apprentice - diversifying and strengthening the former margins.

Throughout the course of time, there has been a progression starting from the preservation of buildings and sites, to the conservation of specific elements of these landmarks, and now shifting towards adaptive reuse where the goal is to maintain cultural heritage through values and attributes. According to Aldo Rossi, there is no guarantee of effective continuity, and it is crucial to understand the process of transformation and determine how to act in such situations (Rossi, 1982). While numerous industrial buildings have been repurposed and given new functions, it remains a subject of debate whether they have succeeded in conserving the identity and historical essence of the structures.
This thesis aims uncover the significant and possibly forgotten or overlooked layers of an architectural product to then synthesise and integrate them into a new narrative, using an interpretation of the concept of collage as a tactic in architecture. In exploring the concept of complementarity, the thesis will delve into the idea that the integration of contrasting elements or ideas can create a harmonious whole. Similarly, a collage brings together disparate fragments to form a cohesive composition.
Emphasizing the concept of complementarity, similar to a collage, architecture reveals evidence of time and its process of construction, a work of architecture contains accumulated history as it is lived and engaged rather than observed” (Shields, 2012). An architectural piece is “rarely experienced in its totality, […] but as a series of partial views and synthesise experiences.” (Holl, Pallasmaa, & Perez-Gomez, 2006).
By embracing complementarity, architecture can establish a dynamic relationship between the existing context, the proposed interventions, and the emerging necessities, ensuring that the. essence and significance of the original structure are upheld while allowing for meaningful adaptation and transformation. Therefore, the essay will explore concepts such as collage and the notion of complementarity in terms of research and design within an architectural framework.

Facing the neo-liberalisation of the city, "the furtive monument" is a path across the city, combining programs of the body, the mind and the politics, in order to reach a state of empowerment. Based on a situationist drift, architectural interventions transform the way the city of Rotterdam is experienced, not based on profit but based on programmatic activations. If the city is a generic cadaver, the project has the ambition to revive its soul from its carcass, extracting its qualities, disrupting the systems in place and re-assembling its components. The city, seen as programmatic intensities, states that architecture doesn’t have to be built.