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	<title>Fernando Garrido Carreras</title>
	<link>https://fernando-garrido.com</link>
	<description>Fernando Garrido Carreras</description>
	<pubDate>Fri, 23 Aug 2024 20:09:39 +0000</pubDate>
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		<title>fernando garrido carreras</title>
				
		<link>https://fernando-garrido.com/fernando-garrido-carreras</link>

		<pubDate>Fri, 24 Feb 2023 23:25:18 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

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		<title>Information</title>
				
		<link>https://fernando-garrido.com/Information</link>

		<pubDate>Wed, 31 Mar 2021 13:21:56 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/Information</guid>

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Fernando Garrido Carreras is an architect, engineer, and researcher. He holds a Master of Architecture from Harvard Graduate School of Design and a Bachelor’s in Civil Engineering from University College London. His work investigates logistics, infrastructure, and landscape through design and writing.

fernando.garridoc@gmail.com

 




︎


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		<title>Archive Logistics</title>
				
		<link>https://fernando-garrido.com/Archive-Logistics</link>

		<pubDate>Sat, 21 Oct 2023 23:25:41 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/Archive-Logistics</guid>

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Archive Logistics

The Graduate School of Design archive, almost entirely digital, floats within a cheap but pristine motherboard as if it was about to fly away and become incomprehensible. Fortunately, two heavy volumes with analog archival work anchor it to the ground and keep the archive from disappearing.

Harvard GSD &#124; 2023 Supervisor: Iñaki Ábalos and Renata 
Sentkiewicz


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		<title>Intermission</title>
				
		<link>https://fernando-garrido.com/Intermission</link>

		<pubDate>Fri, 23 Aug 2024 20:09:39 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/Intermission</guid>

		<description>︎︎︎
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Intermission
Intermission is a project that attempts to render visible the housing deconstruction processes around Yanesen. It understands the efficiency and velocity of the building, demolition, and recycling industries and presents itself as a modest bypass to them, offering a pause or temporary stop within the relentlessness of the construction industry in Tokyo. As such, the proposed project aims to praise the existing built environment and advocates for a collective performance on maintenance, transformation, and display of otherwise forgotten pieces of scrap. 

In section, the building behaves as a largescale shelf, in which the collection of recovered elements of architecture are vertically organized by size using a large bridge crane that sorts very large and miscellaneous objects like a fragment of a shrine on the ground floor, to toilets and windows on the middle floors, and doorknobs, screws and smaller electrical fixtures on the sixth floor. The back of the building contains the necessary workshops (milling routers, 3d scans, woodshop, metal shops,...) to transform and reproduce the diverse objects. 

The building produces an admirable messiness and a not-so-choreographed dance of things and stuff during the day. During the evening, however, the building behaves as a performance space, where the immense number of fragments of demolished houses become the best collection of props. The building lights up and performs. Harvard GSD &#124; 2024 Supervisor: Mohsen Mostafavi


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		<title>Impatience of a Commodity</title>
				
		<link>https://fernando-garrido.com/Impatience-of-a-Commodity</link>

		<pubDate>Wed, 31 Mar 2021 13:21:57 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/Impatience-of-a-Commodity</guid>

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Impatience of a Commodity
	



This project starts as a response to the proposal to design a Bourbon distillery in Boston. Such proposal, its program, and its location immediately involve considering the movement of raw materials over long distances, almost more than thinking about the whiskey production itself. [Corn, yeast, malted barley, rye, and even the correct type of water are produced and or found in the mid-west of the US, 1000 miles away from Boston].

The first-floor plan is designed around a semi-truck’s turning radius. This organizes the site in plan, and separates the production area and the whiskey aging area [called rickhouse - where the barrels are stored]. The trucks can move through the center of the building while delivering raw materials and picking up whiskey barrels.
 
The second floor works differently, more like a computer motherboard. It contains all the offices, control rooms, boiler rooms and laboratories. All the services and circulation hang from the structure, thus never touching the first floor. The second floor should be imagined as an interchangeable piece, as if each motherboard was responsible for producing a particular commodity. 
 
A series of seasonal logistical operations using an overhang bridge crane allow the barrels to be organized in different fashions following the whiskey aging time and the production speed. Students from the nearby Cultural Arts Center can perform and practice in various stages and setups for two years when the biannual show takes place, right before the batch of barrels that make up the seating area and stage have correctly aged.
The modularity of the motherboard allows for a small theatre fly that aligns with the biannual stage. 
 
The result is a choreography between trucks coming in and out, piling barrels organized by a bridge crane, the constant practicing and performing of students, and the movement of the community throughout the seasons.


Harvard GSD &#124; 2022 Supervisor: Emmett Zeifman


</description>
		
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		<title>VISIONS BY</title>
				
		<link>https://fernando-garrido.com/VISIONS-BY</link>

		<pubDate>Sun, 21 Mar 2021 16:59:08 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/VISIONS-BY</guid>

		<description>
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VISIONS BY ISSUE #3 Launch InstallationPiper Auditorium

The installation tries to push the boundaries of physical materiality. It is composed of a family of ten flags considered almost as living objects. As such, we propose ten corresponding devices that ‘test’ the flags, all similar but with a different ‘perceived materiality’ in each case.
 The flags ‘suffer differently’ as the devices interact with them. By putting them in tensions, piercing them, strungling them, hanging, we showcase an organic spectrum and its mode of artificial preservation that range from an extremly fleshylike and organic appearance to its overly artificial preservation.


Designed and built in collaboration with A la Sauvette

Talks: Ariadna Serrahima and Saul Baezain Conversation with Michelle ChangProduction: Tai SansPhotographer: Randy CrandonDJ: Jeffery Cheung





</description>
		
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	<item>
		<title>Monster and Hinges</title>
				
		<link>https://fernando-garrido.com/Monster-and-Hinges</link>

		<pubDate>Thu, 06 Jul 2023 14:54:38 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/Monster-and-Hinges</guid>

		<description>



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Monster &#38;amp; Hinges
Housing adaptive reuse development in Chelsea, MA, USAIn collaboration with Paris Bezanis
An adaptive reuse project based in Chelsea, MA. Four obsolete office buildings in a site sorrounded by logistical infrastructure and large scale warehouses are transformed into affordable housing.The project starts with a thorough analysis of the site. A series of large scale, opaque and extremely efficient buildings (defined as monsters) are found near the site. These monsters are key to understand the site and drive the project.
In fact, a series of hinging operations, involving a very rigorous conservation
of mass, deem neccesary in order to demonsterize our existing buildings and to
transform them into habitable housing. The operations results in a de-optimizationof volume to surface ratio of the previous
existing office buildings.
By transforming the site through these hinging operations and engaging with
human-scaled measures and modes ofindexing, we rehabilitate the monsters of 70-100 everett ave, Chelsea, MA away
from an opaque and hermetic collectionof horizontal buildings into an urban sanctuary attenuated to the needs of both
human and collective operations.
GSD Harvard &#124; 2023Supervisor: Andrew Holder











</description>
		
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	<item>
		<title>KENZO TANGE</title>
				
		<link>https://fernando-garrido.com/KENZO-TANGE</link>

		<pubDate>Sun, 21 Mar 2021 16:59:07 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/KENZO-TANGE</guid>

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Kenzo Tange Pavilion at Harvard GSD


The OFFICE KGDVS designed structure is a “1:1 scale model” of the pavilion. Our installation is a model of this model of a pavilion. Formally the project is a series of continuous regressions in scale which raise questions about the status of representation and the differing intellectual associations inherent to such scalar jumps. We intend to link these jumps to subtly intervene in the social space that the pavilion wants to engage.
OFFICE’s pavilion shifts in its reading between a model and a piece of built architecture. Our model of&#38;nbsp; model acts as an attractor point within the field of the pavilion, also performing in a reflexive move as the referent for the actual structure.
“The desire for stable origins [in architecture] always turns up empty.” Stan Allen’s words are an appropriate encapsulation of the idea that architecture exists within the realm of representations of the built work, not the built work itself. The idea of scaling, much like a Russian doll, is thought of as an endless series of models nested within each other which raises this very question of the locus of architecture. Here, these models serendipitously come into contact with the virtual social space and become usable.

In collaboration with Pablo Castillo, Rolando Girodengo, Dhruv Mehta and Sarah Hopper





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		<title>BHEKINKHOSI</title>
				
		<link>https://fernando-garrido.com/BHEKINKHOSI</link>

		<pubDate>Sun, 21 Mar 2021 17:59:02 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/BHEKINKHOSI</guid>

		<description>
	
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Bhekinkhosi Suspension Bridge
This project was carried by&#38;nbsp;Engineers in Action in cooperation the Eswatini Microprojects Programme unit.Bekhinkhosi and Nyakeni are two communities in Eswatini. A crossing between both communities, separated by the Mbuluzi river deemed neccesary
in order to connect 1,800 people yearround to three high schools, two primary schools, one health clinic and one market. 

Engineers in Action &#124;Design Manager&#124; 2018Manzini, Eswatini


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	<item>
		<title>ROCKS</title>
				
		<link>https://fernando-garrido.com/ROCKS</link>

		<pubDate>Wed, 31 Mar 2021 13:21:56 +0000</pubDate>

		<dc:creator>Fernando Garrido Carreras</dc:creator>

		<guid isPermaLink="true">https://fernando-garrido.com/ROCKS</guid>

		<description>Study on the perception of rocks and mountains


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Mountains are hard to grasp. Their scale and dimensions pose a challenge when trying to conceive them 3-dimensionally.The texture of rocks plays an essential role in this quest. As rocks have an affordable scale, our mind uses them as scale figures or indications. Depending on the mapping and size of the rock texture, our mind can organize the depth of space and distance between mountain planes.
This project, contemplated as a synecdoche of a mountain range, walls have different rugosities that deceive the eye and present a challenge to a visitor when trying to understand the depth of the spaces. It emulates the disorientation felt in the mountains.



GSD Harvard &#124; 2020 Supervisor: Lisa Haber-Thomson




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