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Old Munitions Dumps of Monte Gancedo. Boadilla del Monte, Madrid. 2013

Proyect organized and produced by the Facultad de Arquitectura of EPS San Pablo CEU University of Madrid

The intervention promotes the discovery of an almost unknown landscape in Boadilla del Monte, Madrid. The old munitions dumps of Monte Gancedo are currently abandoned and have been conquered by time and nature. The format of this proposal is a four-day workshop, with an action and a "piece" developed afterwards. The first phase (the workshop) consists of field and conceptual research through the direct experience in the place. The goal is to form a richer anthropological collective imagination of places, situations and rituals. It is an amplified taxonomy of landscape perceptions. Alternative landscape navigations are produced, an example: "Follow the leader/ Follow the horizon"



The chosen site is a previous military camp, currently abandoned, configured as a munitions dumps network, which entailed a structural change in the topography of the place. Therefore nothing is what it seems to be and we should check continuously our geographical position and our reading of the place.




Various concepts and structures emerge as the starting points of the landscape actions: the expanded revision of the ideas related to “horizon” (line, landscape or limit); the overlapping of formal structures with ones that are formed through dim logic (labyrinth, network…); or the transcription of rhythmic structures. Various tools are suggested to the participants: registration of vertical and horizontal vectors, the comparison of events in the micro and macro scale, the use of alternative perceptions, the gathering of objects, the manipulation of scales, or the use of time and sound panoramas.




The actions of the each group point out explorations related to these ideas and leave a creative and anthropological horizon, which was not present at the beginning of the workshop. The target was to overlap these explorations using cartography or series of alternative documents, and always repeating the exploration of the same trajectory but looking each time to different aspects. It was in this way that the group explored the differences in the landscape, such as the difference between established structure, improvisation and exploration (to improvise but paying attention to an specific aspect) in relation to movement. The comparison between the movement in the existing paths and the one emerging from a “follow the leader” choreographic exploration brings to light the relationship between the body and the landscape understood as “choreographic object” (Group 01).

Some landscape units, as the short pine tree forest or the first munitions dump, were re-read taking as starting point material the fragments of perceptions of its inside and outside fabric or its limit. The redefinition of the concepts “inside”, “limit” and “outside”, including its contradictions depending on the landscape unit considered, go deep in the anthropological character of the understanding of landscape (Group 02).




The site is also unfolded following various rules of actions: four members of a team have five minutes to look for flatlands, objects, gravitational experiences and textures, and the final assembly builds a new reality (Group 03).

Disorientation led to the search of alternative elements and the inspection of landmarks from different points of observation. The field of action and the dead angles from the conventional orientation were no longer useful led to the creation of a new taxonomy of the place (Group 04).

Ideas related to limits were explored in a broad sense selecting three stripes of territory which don’t belong clearly to any specific landscape unit. These limits were related to the main path, the munitions dumps or the forest. In these stripes the usual perceptive limits were expanded through the use of mirrors and magnifying glasses. Perspectives were expanded and overlapped using mirrors and new visible landscapes were shown to the eye through the magnifying glasses (Group 05).

Maps of the site were built depicting time and not space, building a new reality sequence of sections based on time. These could be isolated or overlapped to other ones in real time (Group 6) and in the same way an expansion of perception was produced, using the alternative roles related to seeing and being seen, and between what one sees and does not see in an specific position (Group 7).






The "PIECE AND ACTION" is guided by violinist Gala Pérez Iñesta and the members of the Collective. The acoustic space is tested and we add the performance of some other spatial scores suggested by Edgardo Mercado.


picnic y partituras







Juan Barrero, Mª Auxiliadora Gálvez, Andoni Larrabeiti, Begoña López and Fátima Sarasola.



Gala Pérez Iñesta



School of Architecture EPS San Pablo CEU University, Madrid



Alejandro Gómez, Miguelito Gómez, Aurora Herrera, Edgardo Mercado, Daniela Muttis, Andrés Perea and Picado & de Blas



Taller Parámetrico EPS San Pablo CEU



Victoria Cobeña



GROUP 1: Agustín Miranda Gómez, Ana Fernández Galván, Cristina Alonso Reyes, Roberto de Vicente Pina.

GROUP 2: María Arenal, Xavier Espinos Bermejo, Carmen Martín Hernando, Paula Vidal García, Eduardo Chamorro.

GROUP 3: María Soledad Antón Vicente , Sofía Cano Catalán, June Montreal Roberto, Irene Climent.

GROUP 4: Rocío Santo Tomás Muro , Odette Suárez de Puga, Eva Seijas, Ana Barderas, Santiago Kawabata.

GROUP 5: Ana Taboada de Zúñiga, María Día, Carlos González del Mazo, Marta Yubero Abad, Silvia Mestre Gómez.

GROUP 6: Diana Melissa Gómez Agudelo, Eva Palomo Gutiérrez, Alejandro Iglesias, Ana Pérez Fernández.

GROUP 7: Óscar Llorente Martínez, Lucía Espinos , Marta Gregorio Antón , Ana Olalla Melian.


[All participants were architects and students of Architecture]


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