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	<title>Rubens Cortés Arquitectos</title>
	<link>https://rubenscortes.es</link>
	<description>Rubens Cortés Arquitectos</description>
	<pubDate>Wed, 31 Jan 2024 09:50:43 +0000</pubDate>
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		<title>Casa de Jesús</title>
				
		<link>https://rubenscortes.es/Casa-de-Jesus-1</link>

		<pubDate>Wed, 31 Jan 2024 09:50:43 +0000</pubDate>

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	Casa de Jesús
Architect: Rubens Cortés Cano, Raúl Rodríguez Ruiz
Project team: Raúl Melguizo

Technical architect: Francisco A. Jiménez 
Mechanical Engineer: Juan Fernández

Structural Engineer: Paco Vilchez,Rafael Vega
Client: PrivadoFotografía: Javier Callejas
	






	ES/


La Casa de Jesús se sitúa en la Vega de Granada, en una parcela urbanisticamente planificada para viviendas de dos alturas. El proyecto parte de la necesidad de plantear la vivienda en una única planta para garanticar la accesibilidad. Esta condición nos lleva a una vivienda horizontal que revisa el modo de relacionarse con los bordes de la parcela. La vivienda es una rectángulo que se cierra en el norte. Al sur se abre mediante un gran voladizo, donde se encuentra la piscina. Debajo del voladizo hay un volumen de vidrio, que ocupa parte del espacio cubierto por el voladizo y contribuye a “vaciar” la mitad de la casa más pública. El resultado son dos mitades bajo un voladizo, una más masiva y otra desmaterializada - todo con la idea de facilitar la movilidad de Jesús y de abrir la casa a su propio paisaje. De este modo, la tapia se convierte en el límite visual y referencial de la casa, un recurso un tanto Miessiano. &#38;nbsp;

EN/&#38;nbsp;The Casa de Jesús is located in the Vega de Granada, on a plot of land zoned for two-storey houses. The project stems from the need to design the house on a single storey to ensure accessibility. This condition leads us to a horizontal house that revises the way it relates to the edges of the plot. The house is a rectangle that is closed off to the north. To the south, it opens up with a large cantilever, where the swimming pool is located. Underneath the cantilever is a glass volume, which occupies part of the space covered by the cantilever and helps to “empty” the more public half of the house. The result is two halves under a cantilever, one more massive and the other dematerialised - all with the idea of facilitating Jesús' mobility and opening the house to its own landscape. In this way, the wall becomes the visual and referential boundary of the house, a somewhat Miesian gesture.
 




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		<title>Biblioteca Pública María Lejárraga</title>
				
		<link>https://rubenscortes.es/Biblioteca-Publica-Maria-Lejarraga</link>

		<pubDate>Wed, 02 Sep 2020 19:04:00 +0000</pubDate>

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	Biblioteca Pública María Lejárraga
Architect: Rubens Cortés Cano

Project team: Raúl Melguizo, Álvaro Castellano, David Garzón, Sergio Páez

Technical architect: Carlos Guerrero

Engineer: Juan Fernández

Construction: Urbana + B.Solís

Client: City Hall of Ogíjares
Fotografía: Javier Callejas
	SECADEROS DE TABACO EN LA VEGA DE GRANADA

Los secaderos de tabaco son construcciones agrícolas de la Vega Granadina. El desarrollo de esta tipología está claramente asociado al cultivo de tabaco introducido en la agricultura de Granada a finales del S. XIX. El cultivo de tabaco adquirió más importancia durante los años 40. Después hubo una recesión progresiva, qué terminó con las crisis de la última década de los 90, cuando dejó de ser un cultivo subvencionado.

Hoy en día sólo algunas zonas siguen dedicándose a esta actividad. Sin embargo, los secaderos de tabaco siguen formando parte del paisaje de Granada y son la huella más reconocible de la historia rural de la ciudad. La decadencia de la producción agrícola ha causado una progresiva ocupación y transformación del paisaje rural en urbano. Durante este largo proceso la mayoría de los secaderos has desaparecido; otros han sido absorbidos por el crecimiento del tejido urbano de modo similar al que ocupa este proyecto de rehabilitación.

INFORMACIÓN TÉCNICA / SALA DE MADERA
La sala de lectura está resuelta mediante una sección estructural de madera. Suelo, pared y techo forman un anillo entramado que apoya sobre muros de hormigón.

La estructura portante vertical consta de pies derechos de 90 x 90 mm de madera maciza de elondo separados cada 95 cm. Cuajando los espacios intermedios aparecen una serie de montantes de 45 mm de grueso y 150 mm de cara, con largos de 4500 mm (altura del edificio).
Los huecos de 90 mm entre las caras de ambos tipos de elementos están rellenos de forma alterna con madera y vidrio. Es precisamente este juego de macizo y hueco el que el arquitecto utiliza como elemento compositivo para conseguir una fachada realmente interesante de celosía vertical. Para simplificar ésta se utilizan solamente 9 alturas de vidrio diferentes de 100 mm de ancho y 20 mm de grueso.

Los montantes se prolongan con la misma escuadra de 45 x 150 mm formando el suelo, el cual se maciza de nuevo con piezas de madera de elondo, que no llegan a los muros dejando una franja parcialmente libre. De esta forma pasa La Luz natural a la sala inferior en determinados momentos del día.

De esta manera el entramado forma en realidad una serie de pórticos consecutivos de altura decreciente, con los dos montantes, la viga inferior y la formación de pendiente (dos partes truncados y una pieza horizontal).
EN/&#38;nbsp;



TOBACCO DRYING IN LA VEGA DE GRANADA

Tobacco dryers are agricultural constructions of Vega Granadina. The development of this typology is clearly associated with the cultivation of tobacco introduced in Granada agriculture in the late 19th century. Tobacco cultivation became more important during the 1940s. Then there was a progressive recession, which ended with the crises of the last decade of the 1990s, when it ceased to be a subsidized crop. Today only a few areas continue to be dedicated to this activity. However, tobacco dryers are still part of the landscape of Granada and are the most recognizable footprint in the city's rural history. The decline of agricultural production has caused a progressive occupation and transformation of the rural landscape into urban. During this long process most of the dryers have disappeared; others have been absorbed by the growth of the urban fabric in a similar way to that occupied by this rehabilitation project.

TECHNICAL INFORMATION / WOOD ROOM
The reading room is solved by a wooden structural section. Floor, wall and ceiling form a lattice ring that rests on concrete walls.
The vertical bearing structure consists of 90 x 90 mm right feet of solid elondo wood separated every 95 cm. Curing the intermediate spaces appear a series of uprights of 45 mm thick and 150 mm of face, with lengths of 4500 mm (height of the building).

The 90 mm gaps between the faces of both types of elements are alternately filled with wood and glass. It is precisely this game of solid and hollow that the architect uses as a compositional element to get a really interesting facade of vertical lattice. To simplify this only 9 different glass heights 100 mm wide and 20 mm thick are used.

The mullions are extended with the same square of 45 x 150 mm forming the ground, which is solid again with pieces of elondo wood, which do not reach the walls leaving a stripe partially free. In this way, he passes Natural Light to the lower room at certain times of the day. In this way the framework actually forms a series of consecutive porches of decreasing height, with the two studs, the lower beam and the slope formation (two truncated parts and a horizontal piece).




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		<title>Soundbox &#124; Intervención en un andamio urbano</title>
				
		<link>https://rubenscortes.es/Soundbox-Intervencion-en-un-andamio-urbano</link>

		<pubDate>Thu, 03 Sep 2020 08:46:57 +0000</pubDate>

		<dc:creator>Rubens Cortés Arquitectos</dc:creator>

		<guid isPermaLink="true">https://rubenscortes.es/Soundbox-Intervencion-en-un-andamio-urbano</guid>

		<description>


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	Soundbox&#38;nbsp;&#124; Intervención en un andamio urbano
Premio: FAD 2005 Espacios Efímeros &#124; Arquitectura efímera (instalación)Arquitectos: Rubens Cortés, Javier CastellanoArtistas: Joaquín Casanova, Elisa Ramos















	Esta obra escultórica está construida con materiales puramente arquitectónicos como son la chapa de acero y Madera. Las características estéticas y conceptuales de este espacio efímero ofrecen como resultado una capa diseñada para generar resonancias acústicas dentro del entorno urbano. La reminiscencia acústica que ofrecen los materiales utilizados y la conceptualización del sonido, permiten generar distintas formas de comportamiento artístico.

Esta pieza se sitúa en un espacio sin resolver, existente en medio de un andamio, en el centro histórico de la ciudad de Granada.

Esta obra escultórica está construida con materiales puramente arquitectónicos como son la chapa de acero y Madera. Las características estéticas y conceptuales de este espacio efímero ofrecen como resultado una capa diseñada para generar resonancias acústicas dentro del entorno urbano. La reminiscencia acústica que ofrecen los materiales utilizados y la conceptualización del sonido, permiten generar distintas formas de comportamiento artístico.

La Caja de Resonancia está formada por una doble piel; la exterior consiste en una chapa metálica perforada. El peso aparente de esta escultura especial, situada en el vacío central del andamio, contrasta con la ligereza y la elevación que se pretende alcanzar en su interior. Se convierte en un contenedor escénico en el que, mediante la luz y el sonido, surge el objeto materializado. La piel interior de esta pieza está constituida por un mosaico de perforaciones en círculos de dimensiones diferentes, que dotan de ligereza la pieza al dejar filtrar la luz. La estructura metálica conforma una cámara de aire capaz de albergar en su interior los dispositivos necesarios de luz artificial y sonido.

Los cerramientos norte y sur, así como el pavimento de la caja, son en realidad puertas abatibles de grandes dimensiones, que responden a una doble función: mejorar el tránsito peatonal durante el día, abriéndose y plegándose hasta formar un pasaje perpendicular a la dirección del andamio.EN/&#38;nbsp;

This piece is situated in an unresolved void in the middle of scaffolding in the historic centre of the city of Granada.

This work of sculpture is built from purely architectural materials such as steel sheeting and wood. The aesthetic and conceptual characteristics of this ephemeral space produce as a result a box designed to generate an acoustic resonance within the urban environment. The acoustic reminiscence provided by the materials used and the conceptualisation of the sound permits generating different forms of artistic performances.

The Sound Box is formed by a double skin, the external one consisting of perforated metal sheeting. The apparent weight of this spatial sculpture situated in the central void of the scaffolding contrasts with he lightness and elevation that it is sought to achieve inside it. It becomes a scenic container in which the object is embodied by means of light and sound. The inner skin of this piece is constituted by a mosaic of perforations in circles of differing dimensions that give the piece lightness by allowing light to filter through. The metallic structure shaes an air chamber capable of housing the necessary artificial light and sound devices.
The north and south enclosures, together with the floor of the box, are in reality folding doors of large dimensions that have a double function: improving pedestrian raffic during the day, with the boc closed, and allowing trucks into the refurbishment works during the night, as it opens and folds until it forms a perpendicular passage.
The natural light, which is not controlled by man, is called Source. During the day it filters through the perforations to flood the entire interior, while at night the box emanates light outwards the urban environment. The space has been conceived as a sanctuary or a bath in the Alhambra that recalls an Al-Quibla, a clear example of the close relationship between prayer and bathing. During the night, th eraffic of vehicles near the outer doors produces an infinite variety of light emissions: headlamps, indicator lights,, the vehicles´ interior lights, traffic lights... The design of the conical holes -at a rate of 1.5-2.5, 2.5-5 and 5-10- and their new layout cause the light to br captured inside and offered to the observer as flashes that vibrate on the plane like in a register panel of city lights. It is here where it acquires irs most contemporary image.
The sounds is produced inside it by means of speakers concealed between the mental shetting and the wood.
So linked to mankind is the need to understand the cause that produces the sound effect that when this connection is unknown we turn it into magic and superstition.




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		<title>Plastic &#124; Centro De Interpretación De La Costa Tropical</title>
				
		<link>https://rubenscortes.es/Plastic-Centro-De-Interpretacion-De-La-Costa-Tropical</link>

		<pubDate>Thu, 03 Sep 2020 09:14:10 +0000</pubDate>

		<dc:creator>Rubens Cortés Arquitectos</dc:creator>

		<guid isPermaLink="true">https://rubenscortes.es/Plastic-Centro-De-Interpretacion-De-La-Costa-Tropical</guid>

		<description>


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	Plastic&#38;nbsp; 
Centro De Interpretación De La Costa Tropical

Architect: Rubens Cortés Cano
Collaborating architect: Raúl Melguizo
Technical Architect: Enrique Molina Campos
Team: Raúl Melguizo, Álvaro Castellano, David Garzón, Francis Requena, Rafael Ruiz
Contractor: Ayto. de Gualchos–Castell de Ferro
Estructure: Plastisur (Policarbonato)
Photography: Javier Callejas
Promoter: Ayto. de Gualchos–Castell de Ferro


	El centro de interpretación de Gualchos – Castell de Ferro será uno de los muchos que se ofrecen en la provincia de Granada, pero tratará de distinguirse entre tantas expresiones arquitectónicas y culturales.

Los centros de interpretación se crean con el objetivo de convertirse en plataformas de difusión de los recursos naturales, de la cultura y del patrimonio propio de la comarca. Sin embargo el interés que despiertan en el visitante es cada vez menor y los contenidos que albergan a veces resultan rutinarios. Podemos decir que siguen repitiéndose un modelo de centro de interpretación ya agotado.

Muchos ayuntamientos han convertido el “centro de interpretación” en una oportunidad para tratar de adueñarse de ciertos valores patrimoniales. En contra de ésta dinámica proponemos una plataforma de colaboración y difusión, basadas en las nuevas tecnologías y en un planteamiento sostenible y de “bajo consumo”, con una posibilidad de retorno económico mayor gracias a los vínculos establecidos con otros municipios y empresas de la comarca. Acondicionamos parte del albergue existente para este nuevo uso incorporando al esquema constructivo un nuevo material: el policarbonato celular translúcido. Sobre una estructura metálica desmontable disponemos placas de este material que sustituye el acabado tradicional de mortero y pintura por otro más flexible, reciclable y versátil. Es una nueva piel interior que se adapta a la geometría existente y nos ofrece diferentes niveles de transmisión luminosa, una gran resistencia al impacto, altos coeficientes térmicos y acústicos y una alta resistencia al envejecimiento. El espacio resultante entre el cerramiento del edificio existente y la nueva piel interior nos permite alojar las instalaciones necesarias e iluminar el espacio de un modo homogéneo y uniforme. Entendemos que éste material constructivo es óptimo para reflejar la realidad de la costa tropical, donde los polímeros de los invernaderos ocupan la mayor parte del territorio y constituyen parte muy significativa del patrimonio de la zona.EN/
The Interpretation Center in Gualchos – Castell de Ferro will be one of many centers of such type in
the Granada province, but it will differ significantly from so many architectural and
cultural expressions. Interpretation Centers serve as platforms that spread natural resources, culture and national heritage of the region. Nevertheless, every time people are less interested in such centers and find their contents monotonous.
Many town councils treat the “Interpretation Center” as an opportunity to take over certain patrimonial values. In opposition to this dynamics, we propose a platform of cooperation and diffusion based on new technologies and sustainable and efficient approach with possibility of economic returns thanks to its ties established with other town councils and companies of the region. The idea of the project is to transform the existing youth hostel taking into consideration its new usage applying new material – cellular translucent polycarbonate. Above the removable metal structure we place polycarbonate sheets that substitute traditional finishing works of mortar and painting with more flexible, recyclable and changeable materials. It represents new interior skin that takes the shape of the existing geometry and possesses excellent levels of light transmission, high resistance to external influence, high heat and sound insulation, and high resistance to ageing. The resulting space between the walls of the existing building and the new interior skin allows us install the necessary equipment and illuminate the space in a homogeneous way. We find this material to be perfect in order to reflect the reality of Costa Tropical, where polymers of greenhouses occupy the major part of the territory and constitute a very significant part of the heritage of this area.




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		<title>Bronze &#124; Joyería Loalba </title>
				
		<link>https://rubenscortes.es/Bronze-Joyeria-Loalba</link>

		<pubDate>Thu, 03 Sep 2020 09:14:18 +0000</pubDate>

		<dc:creator>Rubens Cortés Arquitectos</dc:creator>

		<guid isPermaLink="true">https://rubenscortes.es/Bronze-Joyeria-Loalba</guid>

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	Joyería Loalba&#38;nbsp;
MENCIÓN HONORÍFICA COA Granada
Fecha de ejecución: 1998 – 1999
Localización: Placeta del Centro Artístico, 2, 18009 Granada
Superficie: 122 m2
Cliente: Loalba Joyeros
Arquitectos: Rubens Cortés, Javier Castellano, José Luís López.
Equipo: Mª José Rodríguez, José Luís Ayllón.
Construcción: Rodess S.L. Talleres Vázquez S.L.
Fotografía: Javier Algarra, Valentín García.

	El programa se divide en dos partes bien diferenciadas: taller de fabricación y la propia joyería.

El taller reproduce la hermeticidad del antiguo local también situado en el centro historico de Granada y se relaciona con una plaza a través de un solo hueco. Su acceso es una doble excusa de seguridad que constituye un patio horizontal de sección variable.
La joyería se manifiesta como un vaciado en la edificación. En ese vacío excavado se sitúa una caja de bronce abierta hacia el interior. Un suave giro de éste obleto respect del plano de fachada del edificio permite el acceso y secuencia la percepción del espacio interior. En el interior de éste objeto, las joyas de más valor quedan celósamente guardadas en pequeñas urnas de vidrio.
El fondo irregular del local se mantiene, aunque adquiere un espesor suficiente para albelgar en él objetos de vidrio, metal y ceramic. La parte superior de las paredes queda reservada para exposiciones temporales.
La caja de bronce, totalmente exenta, permite que la luz natural resbale por sus bordes impregnando todo el espacio interior de la calidez desprendida de este material. Sus diemnciones y ángulos se ajustaron en obra para conseguir perspectivas más naturales y una escala adecuada a cada posición, quedando fijadas en 10.60m. de espesor, con una textura de martilleado irregular que nos aproxima al trabajo minucioso del joyero. Todas las placas reproducen un modelo, pero cada una es distinta a las demás en sus imperfecciones, propias de la fundición, lo que nos recuerda a los objetos de los anticuarios que existieron hace tiempo en éste lugar.EN/
The project is divided into two different parts: jeweler’s workshop and the jewelry store.
The workshop reproduces the hermetic nature of the ancient commercial enterprise that was also situated in the historic center of Granada and it is connected with the square by means of just one hole. Its access represents a double security lock that constitutes horizontal courtyard of various sections.
The jewelry store represents empty space in the building. There is a bronze box open to the interior. A slight turn of this object with respect to the plan of the building façade allows the access and perception of the interior space. The most expensive jewelry is carefully kept in small glass display cases in the interior of the box.
Irregular back of the commercial enterprise is maintained, though it has sufficient thickness in order to keep glass, metal and ceramic objects. The upper part of the walls is used for temporary exhibitions.
The bronze box, which is totally open, allows the natural light spread on its borders impregnating its interior space with generous warmth of this material. Its dimensions and angles were adjusted in order to receive more natural perspectives and appropriate scale for each position (10.60 meters length and 2.71 meters heights). It is built of bronze sheets smelting from sand of 4 to 6 mm of thickness, with polishing irregular texture that brings us closer to the meticulous work of the jeweler. All the sheets represent a model, but each of them is different because of its imperfections due to the smelting process, which reminds us about the antiques that were situated here a long time ago.




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		<title>Oficina Rubens Cortes Arquitectos</title>
				
		<link>https://rubenscortes.es/Oficina-Rubens-Cortes-Arquitectos</link>

		<pubDate>Wed, 22 Feb 2023 11:39:16 +0000</pubDate>

		<dc:creator>Rubens Cortés Arquitectos</dc:creator>

		<guid isPermaLink="true">https://rubenscortes.es/Oficina-Rubens-Cortes-Arquitectos</guid>

		<description>


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	Rubens Cortes Arquitectos&#38;nbsp;

Autor: Rubens Cortés Cano

Colaborador:

Raúl Melguizo Rodríguez


Estructura: Francisco Vílchez, Rafael Vega
Fotografía: Javier Callejas Sevilla

Promotor: EYG Integral de Inmuebles SL

Constructor: SRC SLU

	ES/
Este local fue Jauja, un conocido bar de copas relevante en Granada a finales de los noventa. La transformación en estudio de arquitectura parte de una voluntad clara por deshacer lo añadido para recuperar el estado original del edificio. El proyecto se plantea como un ejercicio de demolición selectiva, decapado y limpieza de elementos estructurales. Una operación que busca recuperar la original lectura espacial y constructiva del espacio.&#38;nbsp;
En este proceso se mantienen algunas trazas y cicatrices propias de la vida de este lugar. Se recuperan las ventanas originales, antes tapiadas. También se incorporan nuevos elementos, como un vidrio y una gran cortina que resuelven la privacidad y el acondicionamiento acústico. La fachada prolonga esta idea de transparencia. El mobiliario es algo austero, sencillo y funcional, reforzando la unidad del espacio de trabajo.



EN/&#38;nbsp;




This venue was once Jauja, a well-known cocktail bar in Granada in the late 1990s. The transformation into an architecture studio stems from a clear desire to undo the additions and restore the building to its original state. The project is conceived as an exercise in selective demolition, stripping and cleaning of structural elements. An operation that seeks to recover the original spatial and constructive interpretation of the space. 
In this process, some traces and scars from the life of this place are preserved. The original windows, previously bricked up, are restored. New elements are also incorporated, such as glass and a large curtain that provide privacy and acoustic conditioning. The façade extends this idea of transparency. The furniture is somewhat austere, simple and functional, reinforcing the unity of the workspace.






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		<title>Raudal &#124; Fuente de La Magdalena</title>
				
		<link>https://rubenscortes.es/Raudal-Fuente-de-La-Magdalena</link>

		<pubDate>Thu, 03 Sep 2020 12:24:30 +0000</pubDate>

		<dc:creator>Rubens Cortés Arquitectos</dc:creator>

		<guid isPermaLink="true">https://rubenscortes.es/Raudal-Fuente-de-La-Magdalena</guid>

		<description>


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	Raudal &#124; Fuente de La MagdalenaUbicación: Alcalá la Real, Jaén, EspañaAutoría/Arquitectos: Rubens Cortés, Javier Castellano, Noelia MartínezColaboradores: Raúl MelguizoCategoría: Paisaje y ArquitecturaAño: 2009Área: 140 m2

	El proyecto consiste en el acondicionamiento de una edificación existente declarada Bien de Interés Cultural de Jaén y tiene como objetivo la adecuación y puesta en valor de la Fuente de la Magdalena.

Esta edificación está vinculada desde su origen a la preexistencia de una manantial, el cual sirvió durante siglos como equipamiento comunitario y posteriormente como depósito de agua para distribución también a edificaciones privadas mediante canalizaciones enterradas, es decir, los raudales. En la actualidad, debido al descenso del nivel freático se encuentra seco. No obstante pueden apreciarse los diferentes niveles que alcanzó el agua a través de los restos existentes.

La propuesta parte de la premisa de la necesidad de recuperar el agua como elemento esencial del lugar. La recuperación va asociada al valor simbólico que ha tenido desde sus orígenes, razón principal de su interés como lugar de culto.

El vidrio se convierte en el material elegido para este fin; recuperar la presencia del agua de una manera simbólica. El proyecto busca recuperar su valor urbano mediante la contemplación de la fuente, el sonido del agua y su visión desde la calle a través de unas puertas de chapa perforada plegada que hacen de velo y filtran visiones de la fuente y de la Alcazaba.

La visita a la fuente toma mayor dimensión cuando nos sumergimos en la masa de vidrio y descubrimos un espacio interior donde se explica al visitante la historia del lugar y concretamente la famosa leyenda del lagarto de Jaén.
EN/&#38;nbsp;
The project consists of fitting out the existing structure declared as Goods of Cultural Interest in Jaén and its purpose is to renovate the Magdalena Fountain.

From its origin this construction is linked with the preexistence of the spring that during a lot of centuries served as community equipment and later as water deposits for its distribution to private buildings by means of underground canalization. Nowadays because of the descend of the ground level, it is dry. However one can estimate different levels that the water had reached with the help of the existing remains.

The proposal proceeds from the necessity to recover water as an essential element of the place. The recovery is associated with the symbolic value that water had from its origin, which is the main reason of interest in this agricultural place.

Glass turns to be material that was chosen with the purpose to recover water in a symbolic manner.

The project tries to recover its urban value by means of contemplation of the fountain, the sound of water and its vision from the outside through doors presented as perforated panels that create a veil and filter visions of the fountain and la Alcazaba. Your visit becomes more interesting and exciting when you submerge into the glass and discover the interior space where you will be told the history of the place and the famous legend about the lizard of Jaén.




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		<title>Grupo 2000 &#124; Centro de Formación</title>
				
		<link>https://rubenscortes.es/Grupo-2000-Centro-de-Formacion</link>

		<pubDate>Fri, 04 Sep 2020 09:40:35 +0000</pubDate>

		<dc:creator>Rubens Cortés Arquitectos</dc:creator>

		<guid isPermaLink="true">https://rubenscortes.es/Grupo-2000-Centro-de-Formacion</guid>

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	Grupo 2000&#38;nbsp;&#124; Centro de FormaciónAño: 2007&#38;nbsp;
Localización: Granada, EspañaArchitect: Rubens Cortés Cano

Project team: Raúl Melguizo, Sergio Páez
Engineer: Juan Fernández

Construction: EUROCONT 2000 S.L.

Client: Grupo 2000 Centros de Formación


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		<title>Casa Cheches</title>
				
		<link>https://rubenscortes.es/Casa-Cheches</link>

		<pubDate>Thu, 03 Sep 2020 12:38:46 +0000</pubDate>

		<dc:creator>Rubens Cortés Arquitectos</dc:creator>

		<guid isPermaLink="true">https://rubenscortes.es/Casa-Cheches</guid>

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	Casa Cheches
Situación: C/ Madreselva 25, Granada

Promotor:&#38;nbsp;Mercedes Villegas Calvo, José Antonio Sanchez Rodríguez

Arquitecto: Rubens Cortés Cano

Equipo: Raúl Melguizo Rodríguez, Antonio Delgado Serrano

Arquitecto Técnico:&#38;nbsp;Miguel Ángel Cuberos

Ingenieria Industrial:&#38;nbsp;Francisco Vilchez Cuesta

Constructora: Antonio (Estructuras Gomez-Muñoz S.L.), Renovatio Construcción

Fecha de ejecución:&#38;nbsp;2018-2019




	La Casa Cheches se presenta como una reflexión crítica sobre la metamorfosis del tejido residencial contemporáneo y la erosión del modelo de casa-patio tradicional. El proyecto, que interviene sobre una parcela de 144m2 mediante la sustitución de una edificación de los años setenta, se articula como una vivienda vartical de cuatro niveles (sótano más tres) bajo un esquema de planta libre. En ella el espacio interior se abre hacia el patio. En los niveles superiores la posición frontal de un bloque de viviendas de siete plantas nos obliga a buscar otras miradas diagonales orientadas hacia elementos del contexto inmediato (la copa de un naranjo cercano, una cubierta de teja) o más lejanos (el cielo).Inspirada en una casa vecina, la Casa Cheches convierte el patio en una prolongación de la planta baja y propone un balcón de escala urbana que acoge un pequeño árbol. Un gesto deliberado que introduce naturaleza en altura y expresa una voluntad de generosidad, empatía y compromiso con el espacio público, recuperando simbólicamente un valor esencial que se está perdiendo en los procesos actuales de reconstrucción urbana.
&#38;nbsp;
EN/&#38;nbsp;Casa Cheches is presented as a critical reflection on the metamorphosis of the contemporary residential fabric and the erosion of the traditional courtyard house model. The project, which involves a 144m2 plot and the replacement of a 1970s building, is designed as a four-level vertical dwelling (basement plus three floors) with an open-plan layout. The interior space opens onto the courtyard. On the upper levels, the frontal position of a seven-storey block of flats forces us to seek other diagonal views oriented towards elements of the immediate context (the crown of a nearby orange tree, a tiled roof) or more distant ones (the sky). Inspired by a neighbouring house, Casa Cheches turns the courtyard into an extension of the ground floor and proposes an urban-scale balcony that accommodates a small tree. This is a deliberate gesture that introduces nature at height and expresses a desire for generosity, empathy and commitment to public space, symbolically recovering an essential value that is being lost in current urban reconstruction processes.









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		<title>Sudbury Residence</title>
				
		<link>https://rubenscortes.es/Sudbury-Residence</link>

		<pubDate>Thu, 03 Sep 2020 11:00:55 +0000</pubDate>

		<dc:creator>Rubens Cortés Arquitectos</dc:creator>

		<guid isPermaLink="true">https://rubenscortes.es/Sudbury-Residence</guid>

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	Sudbury ResidenceExtension and rehabilitation of a single family house

Localización:
Santa Ponsa, Mallorca, Spain
Año: 2018-2020Authors: Rubens Cortés, Raúl RodríguezCollaborators: 
Raúl Melguizo, Antonio Delgado, Giulia Tubelli.Quantity surveyor: Francisco JiménezStructure engineer: Paco VílchezMechanical engineer: Juan FernandezPhotography: Javier CallejasPlot size: 2500 m2Built area: 980m2

	










La casa existente dispone el volumen en la esquina suroeste de la parcela, a una cota elevada de 7 metros sobre el plano del acceso a la vivienda. Su radical organización en planta se dispone en dos alas separadas, una para ámbito privado y otra para el público, conectadas a través de una escalera exterior semicircular. El acceso a la vivienda a través de la parcela se hace tras una promenade serpenteante, caracterizada por un gran número de elementos de vegetación autóctona. 


La presencia de la gran ventana se aligera desde la lejanía y coge peso en la cercanía. La atmósfera generada bajo la gravedad del gran volumen de hormigón se contrarresta con la mínima sección del dintel, produciendo experiencias domésticas bajo una estructura cercana al ámbito infraestructural.



EN/&#38;nbsp;
The existing house has the volume in the southwest corner of the plot, at an elevated level of 7 meters above the plan of access to the house. Its radical organization in the plant is set in two separate wings, one for private scope and one for the public, connected through a semicircular exterior staircase. Access to the house through the plot is made after a winding Promenade, characterized by a large number of elements of native vegetation.


The presence of the large window is lightened from afar and takes on weight in the vicinity. The atmosphere generated under the gravity of the large volume of concrete is counteracted by the minimal section of the lintel, producing domestic experiences under a structure close to the infrastructure.








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