ignacio g. galán
[ igg - office for architecture ]

New York / Madrid
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Medellin Velodrome

First Prize in International competition for the construction of a Velodrome in Medellín. With Fake Industries, Estudio Mazzanti, Farzin Lotfi-Jam and Bryce Suite

Medellín (Colombia) / 2012 (on hold)


The Medellin Velodrome synthesizes two seemingly incompatible spatial conditions: an insular, formally specific sports infrastructure; and a permeable, open public space.  It transforms the typology of the sport facility in order to integrate it into the existing Park of the Wheels precinct, distributing the technical and economic investment along it. A modular roof structure, independent from the geometry of the track, dissolves the perimeter of the building, creating spaces that trigger relationships between the specific activities of the velodrome and the informal, leisurely uses of the park.

Each of the roof's modules create a variety of environmental conditions and provide technical support to the park. Those covering the velodrome offer the necessary infrastructure for its regular functioning, including ventilation chimneys, acoustic isolation, electric systems, etc. Those in the perimeter of the building and scattered throughout the park offer bicycle clinics, support systems for scenic lighting, generators activated by pedals, and sprinklers for lowering the temperature. This infrastructure augments the occasional use of the velodrome with a diversity of everyday uses which privilege the civic appropriation of the project, transforming it into a strategic development for the city of Medellín.

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Competition: Ignacio G. Galán, Fake Industries, Estudio Mazzanti, Farzin Lotfi-Jam and Bryce Suite.

Design development and construction: Ignacio G. Galán, Fake Industries, Estudio Mazzanti.

Collaborators: BOMA, structural engineers; BAT, textile engineers and more.

Cinecittà Occupata

Curation of an installation on the film studios Cinecittà, within the section Monditalia at the 14 International Architecture Exhibition of La Biennale di Venezia (by invitation of the general curator of Rem Koolhaas)

Corderie dell'Arsenale, Venice (Italy) / June 7 - November 23, 2014


The studio complex Cinecittà, known as Italy's "factory of images," manufactures realities for film and television and circulates them as fictions gathering together different constituencies. At the same time, these fictions are housed in a built structure that, though remaining invisible behind them, occupies more than 500.000 sqm within the city of Rome and is submitted to its changing logics throughout history, its legal frameworks and associated processes of land speculation. Access to this enclave is a precious (and restricted) asset, since its activities congregate an influential set of actors playing roles not only in film, but in broader cultural and economic networks.

The installation Cinecittà Occupata borrows its name from the 2012 occupation of the famous roman film studios, by workers in protest against their recent business strategies, which workers saw as dismissing their expertise and turning Cinecittà's interests away from film and toward projects that depend on the entanglement of image production with the entertainment and tourism industries. As squatters, they are the most recent occupants of the studios, "Cinecittà okkupata."

Beyond this polemic, Cinecittá Occupata showcases the studios' different kinds of occupations—considering both the fictional spaces that gather us, and the spaces of fiction production—and reflects on Cinecittà as a laboratory for the scrutiny of post-industrial societies—one that has been continuously negotiated and contested.

See more in www.cinecittaoccupata.com

Photo by Miguel de Guzman, imagensubliminal.com

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Design and research: Ignacio G. Galán

Ignacio G. Galán and Jose Ahedo, design and construction; Cyrus Penarroyo, graphic design;  Jose Meza, diagrams; Jacob Moore, text editor; Juan Rey, structures; Bat Spain, textiles; Luis Mesejo, web design. With video by Hugo Kenzo, drawings by Thomas Kelley and photographs by Begoña Zubero.

Special thanks to Lucia Allais,  Katy Barkan, Sara Martin, Marina Otero, Javier Rubin, Andrea Sabbadini, Azzurra Stilo, Lèa-Catherine Szacka, Fondo Belloni Peressutti, and Cinecittá World.

Supporters: Consejería Cultural Embajada de España en Roma (AECID), AC/E, www.batspain.com, Serge Ferrari, Elise Jaffe+Jeffrey Brown

Provisional Simultaneities

Book Chapter "Provisional simultaneity"

Published in Space Caviar ed. SQM: The quantified home (Zurich: Lars Müller Publishers, 2014)

The temporary architecture of the Grande Fratello House is one of the spaces bringing together contemporary societies in different and heterogeneous constituencies through media constructed simultaneities—albeit only provisionally. 


At the same time a physical structure and a continuously broadcast reality, this interior is a system of temporary stabilization of people, of meanings, and of capitals as well. But it is so in a way that is complemented by its capacity to mobilize, to make also meanings, capitals and people more mobile. Here circulation is managed through architecture, and itself manages architecture. Understanding the operations of these circulating interiors might allow finding new strategies for their occupation—including also their appropriation, scrutiny, and contestation.

This research is part of the research project on the architecture of the Italian film studios Cinecittà, known as the country's factory of images. It was inlucided in the publication of the Biennale Interieur 2014 in Kortrijk (Belgium), curated by Joseph Grima.

SQM: The quantified home (Zurich: Lars Müller Publishers, 2014)

Editors: Space Caviar / Design: Marco Ferrari, Elisa Pasqual

Ignacio G. Galán, "Provisional Simultaneity"

Desk informants/Interior intruders

Design objects for circulating interiors, commissioned by AECID. With Jose Ahedo

Rome (Italy) / 2014


"Desk Informants/Interior Intruders" are devices for the personalization of the desk and reflect on the logics of personalization in contemporary circulating regimes.

The objects that build our interiors perform as nodes in networks of information, matter and capital. They no longer constitute the spaces we inhabit as a privileged realm of privacy—as interiors were conventionally understood—, but rather socialize these spaces. The way we interact with them within our daily routines is also part of the same networks, in ways that overcome the logics of fashion and the notion of habitus understood as a series of stabilizing collective symbolic systems and practices that structure ways of doing and being. Contemporary regimes produce constant disjunctures among those systems and practices and are rather articulated around the simultaneous circulation of images and people creating contingent networks rather than stable structures.

Within these regimes, objects populating interiors link personal decisions with geographies of production, individual physiological needs and collectively built paranoia. These objects enact the logics of these different orders, mobilizing around them new postures, physiologies, economic transactions, geographies of production, opinion making and scientific knowledge. Our drinking devices and the amount of water we consume is connected as much to World Health Organization studies as it is to garbage production. Having a cactus in our work space is no longer mere aesthetic decision, since we learnt they absorb harmful radiation from our computers.

Photo by Begoña Zubero.

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Temporary Rural Engraftments/ VC House

Design of a row house in Cuenca

Valdecolmenas (Spain) / 2013 (under development)

Collaborator: Claudia Mainardi


This project explores alternative residential distributions and new imaginaries countering the progressive abandonment of the village of Taboadela, in Cuenca. A number of equally equipped rooms are provided for the temporary inhabitation of the house, and its diversity of non-regular domestic occupations (including extended family reunions and rural tourism rentals among others. The common space within them is organized by furniture elememts and by the very geometry of the plan, which results from past negotiations between family members of larger plot. The rooms appeal to an idealized imaginary of rural domestic warmth for urbanites, while the common space mobilizes rural technologies like glasshouse roofs in order to integrate the house within its context through its climatic performance.

Interior Perspective

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Corridor Dynamics/ 2x House

Refurbishment and division into two apartments of a house in Madrid (built)

Madrid (Spain) / 2012

Collaborator: Claudia Mainardi


Following contemporary social trends and real state dynamics, the owners of a big apartment in the center of Madrid decided to divide it into two smaller units for the reduced requirements of their two daughters. A different arrangement of rooms around common spaces is proposed for each case, in an exploration of architecture's participation in the configuration of the social dynamics of diverse domesticities. The corridor is explored as a the main technology mediating these dynamics, following the two main narratives associated to it: corridor as the technology of privacy (Evans) or as one leading to different forms of socialization (Jarzombek). In one of the units it becomes a valve that makes access to each room independent from the others and from the living area, while maintaining a considerable width that allows it to become access, study room and kitchen. Inn the other, it disappears to become a common family/play room  to which the different bedrooms open. Repeated visits to the house and consequent post occupancy evaluations have revealed how the dynamics internal to each unit (and between them) have taken different forms, both mobilizing the potential of the two distributions, and subverting them as well.

Perspectival floorplan and post-occupancy evaluations


Circulating interiors

Doctoral dissertation currently under development at Princeton University

Dissertation Advisors: Lucia Allais and Beatriz Colomina

This project examines the transformation of architectural interiors in Italy throughout the fascist period, considering the changing forms of articulating domestic spaces both at the scale of the home and at that of the nation.     


Throughout this period, Italian discourse on interiors conceptualized its object of concern primarily as "arredamento"—a term meaning both furniture and the ensemble of elements that furnishes a livable space. While the word "interni" was also used at the time, the emphasis on "arredamento" signaled a distinct interest in the material elements that construct an environment, different both from the association between interior and interiority of the German philosophical tradition and the insistence on social control of French modern practices of the interior. Italian discourse transformed the interior from a unified and enclosed realm, as it was hitherto understood, into an ordered arrangement of elements that moved beyond stable boundaries: Curated displays of furniture and interior ensembles were shaped by the transfers of objects in the market, reconfigured by processes of information circulation, and articulated in relation to the movement of people throughout the territory in different kinds of migratory, colonial, and touristic endeavours.

These forms of circulation manifested in architectural interiors mobilized by political, commercial and media agencies in films, specialized magazines and commercial showrooms, but were not limited to those. These interiors put in motion and managed the use and meaning of the great mass of modern interiors of the nation, all of them connected within material and imaginary networks.

See the PhD dissertation "Circulating interiors: The logics of arredamento and the furnishing of national imaginaries in Italy, 1922-1945"

Interior networks, Italian habitations

Research and design of an installation within an exhibition at Real Academia de España en Roma
Rome (Italy) / June 17 - August 31, 2014


Contemporaneous to the construction of the notion of privacy and increasingly throughout the 20th Century, the interior spaces we inhabit became entangled with different cultural and economic processes and exploded any stable definitions of its boundaries. And still, interiors continued to gather different constituencies and manage systems of inclusion and exclusion in forms exceeding their physical delimitations alone.

"Interior networks, Italian habitations" reflects on the real and imagined interiors built simultaneously in the late 1920s and the 1930s in Italy, and displays the complex array of spaces overlapping in the construction of an Italian habitation throughout the period. Different interiors were linked within cultural and material networks reaching from rural settings to New York and Addis Abbeba, from arrangements suggested in Il Corriere della Sera, to objects on display in La Rinascente, to stages shot in Cinecittà.

Simultaneously a display wall and a dividing fence, the exhibition reflects on the way in which the flatness of interior images reproduced in the media and the fleetingness of interior ensembles in department stores and exhibition rooms had lasting spatial implications and created borders at different scales.

"Interior networks, Italian habitations" is a private installation in a collective exhibition.

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Research project, currently under development

See an abridged version of this research in "Circulen," Circo 186 (2013)

How can we regard architecture's entanglement with the material actuality of contemporary circulatory processes? This materiality is certainly obvious when considering the infrastructures that architects and engineers negotiate for the city. However, it is not so clear when it concerns the cultural and economic processes involved in the movement of images and capitals. Architecture, completely imbricated between all of them, enacts the apparent virtuality of these processes. In this research I follow these simultaneous forms of circulation in the analysis of Milan's subway and Milanese circulating imaginaries.


Consider the following image to begin: A policeman (or maybe a policewoman?), poses in a relaxed position. She is framed horizontally by a continuous banner announcing a subway station, Duomo, and the edge of a platform, positioned, respectively, at the top and the bottom of the photograph. Dressed in a light elegant white outfit, legs crossed and leaning on the stair rail, she is observed not only by the camera located on the opposite platform, but also, on the left-hand side of the image by a group of six people, seemingly a four-member family and an elderly couple turning their heads toward the figure in white. A colored tube rises from the wall turning upward, making a perfect quarter-circle arc to the right and then a full half-circle to the left to meet the policewoman's fist, before finally turning around the dark wall behind her back. There, before rising upstairs, the railing tube meets, in an optical coincidence, the tip of the gigantic arrow of an advertising board located on the wall that backdrops the scene several feet further into the background. On the white and well-illuminated board, the big abstract arrow frames the rather austere logo of the department store La Rinascente, pointing to the stair that rises to the exit. In fact, several feet above the scene depicted in the photograph, one would find not only the successful boutiques of the Galleria Vittorio Emanuelle and the popular Gothic cathedral that gives its name to the subway station, but also the original space in which La Rinascente had first opened in Milan in 1865 and the much larger location to which the thriving business had subsequently moved. Nothing stands out in this 1964 photograph of the recently inaugurated Milan subway, taken by Carlo Orsi—the policewoman, the railing and the advertisement orchestrate a perfect choreography—together they state: "Circulate!"

Metropolitana milanese, Carlo Orsi (1946).


After Belonging

Chief Curators of the 2016 Oslo Architecture Triennale: Lluis Alexandre Casanovas Blanco, Ignacio G. Galan, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis and Marina Otero Verzier

After Belonging: A Triennale In Residence, On Residence and the Ways We Stay in Transit

Oslo (Norway) / September 08 -November 27, 2016

Being at home has different definitions nowadays, both within domestic settings and in the spaces defined by national boundaries in our contemporary global landscapes. Belonging is no longer just bound to one’s own space of residence or to the territory of a nation, nor does it last a whole lifespan.


After Belonging addresses and imagines the objects, spaces, and territories of a transforming condition of belonging. Global circulation of people, information, and goods has destabilized what we understand by residence, questioning spatial permanence, property, and identity—a crisis of belonging. These transfers bring greater accessibility to ever-new commodities and further geographies. But, simultaneously, circulation also promotes growing inequalities for large groups, kept in precarious states of transit. After Belonging analyzes the ways in which architecture participates and intervenes in both our attachment to places and collectivities—Where do we belong?—as well as our relation to the objects we produce, own, share, and exchange—How do we manage our belongings?

The Core Program of the Triennale is composed by:

-After Belonging: On Residence, an exhibition at the Norwegian Centre for Design and Architecture (DOGA)

-After Belonging: In Residence, a program of intervention strategies and exhibition at the National Museum—Architecture

-After Belonging: The Objects, Spaces, and Territories of the Ways We Stay in Transit, a book published by Lars Muller

-The After Belonging Conference, at the Opera House

-The Embassy, a stateless embassy that represents, through cultural means, the ideals of “stateless democracy” developed by Kurdish communities of the autonomous region of Rojava in northern Syria. Conceived and designed by Studio Jonas Staal in collaboration with the Democratic Self-Administration of Rojava.

-The Academy, a forum organized by the Oslo School of Architecture and Design AHO, bringing schools and students from around the world into a global dialogue and knowledge-sharing experimen.

See more about the Oslo Architecture Triennale 2016: After Belonging in oslotriennale.com

See more about the After Belonging Agency in afterbelonging.org

Design and Production Associates: Juan Ruiz Anton, Paola Simone García / Graphic Design: This is our work (Megan Feehan) / Design Assistant: Kamilla Csegzi / Research Associate: Jess Ngan / Assistant: Nick Oelrich

Radical Pedagogies Venice

Co-curation of an installation featuring the collective research project on architecture pedagogy led by Beatriz Colomina with Princeton PhD Candidates, within the section Monditalia at the 14 International Architecture Exhibition of La Biennale di Venezia (by invitation of the general curator of Rem Koolhaas): Beatriz Colomina, Britt Eversole, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister, Federica Vannucchi

Corderie dell'Arsenale, Venice (Italy) / June 7 - November 13, 2014

Acknowledged with the Special Mention of the Jury


Radical Pedagogies explores a series of pedagogical experiments that played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. As a challenge to normative thinking, they questioned, redefined, and reshaped the postwar field of architecture. They are radical in the literal meaning stemming from the Latin radix (root), as they question the basis of architecture. These new modes of teaching shook foundations and disturbed assumptions, rather than reinforcing and disseminating them. They operated as small endeavors, sometimes on the fringes of institutions, but had long-lasting impact. Much of architectural teaching today still rests on the paradigms they introduced.

This installation at Monditalia zooms in on the Italian situation. Multiple case studies are explored to expand the geographical and conceptual map—reconstructing the pedagogical shift in Italy in the late 1960s and 1970s. 

See the Radical Pedagogies web platform.

Photo by Miguel de Guzmanimagensubliminal.com

Research and curation: Beatriz Colomina, Britt Eversole, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister, Federica Vannucchi.

Design and construction: Cristóbal Amunátegui and Alejandro Valdés, Amunátegui Valdés architects. Graphic design by Pablo González, Smog.tv.

Multiplatform publishing concept: dpr-barcelona, Ethel Baraona and César Reyes.

Radical Pedagogies Lisbon

Co-curation of an installation featuring the collective research project on architecture pedagogy led by Beatriz Colomina with Princeton PhD Candidates, as an Associated project to the 3rd Lisbon Architecture Triennale: Beatriz Colomina, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister

Sinel de Cordes, Lisbon (Portugal) / September 12 - December 15, 2013


Radical Pedagogies explores a series of pedagogical experiments that played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. As a challenge to normative thinking, they questioned, redefined, and reshaped the postwar field of architecture. They are radical in the literal meaning stemming from the Latin radix (root), as they question the basis of architecture. These new modes of teaching shook foundations and disturbed assumptions, rather than reinforcing and disseminating them. They operated as small endeavors, sometimes on the fringes of institutions, but had long-lasting impact. Much of architectural teaching today still rests on the paradigms they introduced.

See the Radical Pedagogies web platform.

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Research and Curation: Beatriz Colomina, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister.

Design: Ignacio G. Galán, Evangelos Kotsioris and Anna-Maria Meister with Dorit Aviv and Loren Yu.

Construction: Dorit Aviv, Ignacio G. Galán, Anna-Maria Meister and Evangelos Kotsioris with John Hunter, Rui Morais e Castro and POLIGONO.

Pedagogy, Practice, History

Book Chapter "The Pursuit for a 'Change of Life:' Pedagogical Experiences, Poetic Occupations and Historical Frictions"

Published in Building Cultures Valparaiso (Laussane: EPFL Press and Routledge, 2015)

Architecture pedagogy continuously revises the tools and protocols of the discipline, and it simultaneously considers its diverse agendas and goals as well. The pedagogy of the Valparaiso School directly addressed this conundrum, explicitly rejecting with its methods of architecture production any attempt to “change the world,” and was otherwise guided by a pursuit for a “change of life.” Their proposed exercises and architectures did not advance any material form of engagement with their historical context, but sought a different productivity for architecture with forms of expression that could overcome this context.


With this particular aim, poetry's relation to architecture was explored as a strategy to set in friction processes of artistic synthesis with the experience of the city. Sites were occupied as playing fields in which the movements of bodies, their appearance in public, their  formal arrangement in space and other artistic and architectural strategies were disengaged from any goal beyond them. Such an approach to architecture was thought to charge spaces with meaning and to open them to the production of new subjectivities. In fact, through different poetic acts and performances a new form of productivity was sought for architecture in the relation to different forms of expression and the occupation of spaces. The development of the Valparaíso School's agenda inevitably brought to the fore the tension between a quest for newness in its forms of expression and the unfolding of historical events. This tension became clearest in the 1967 protest in Valparaiso, which this research project addresses and evaluates.

This research is part of the collective research project Radical Pedagogies, and results from archival research in Santiago de Chile and Valparaiso, funded by the Program in Latin American Studies at Princeton University.

Building Cultures Valparaiso (Laussane: EPFL Press and Routledge, 2015), including:

I. G. Galán, "The Pursuit for a 'Change of Life:' Pedagogical Experiences, Poetic Occupations and Historical Frictions"

B. Colomina, I. G. Galán, E. Kotsioris and A. Meister "Radical Pedagogies. Notes Toward a Taxonomy of Global Experiments"


Radical Pedagogies Publications

Co-authored publications of the collective research project Radical Pedagogies, led by Beatriz Colomina at Princeton University


Pedagogical experiments played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. This challenge to normative thinking was a major force in the post-war field of architecture.

B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies: Educating Change," Quaderns 267 (2015)

B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies," Uncube n.25 (Oct. 2014)

B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies," Pidgin 17 (2014)

B. Colomina, E. Choi, I. G. Galán, AM. Meister"Radical Pedagogy," Architectural Review (Sept, 2012)

Furnished Landscapes

Collective Housing Prototype.

Harvard GSD, Cambridge (USA) / 2008

With Frank Barkow and Chris Bangle, professors.


This project explores housing configurations for transient collectives, re-considering the dichotomy between objects and furniture as moveable elements and architecture as a fix structure. A folding geodesic structure opens and closes around a fix core to accommodate different uses and create diverse environments, and makes architecture itself perform as a furniture item.


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Society building interiors

 A conversation with Andrés Jaque, published in "Society Building Interiors"

Published in Volume Magazine n.33 (2012)

Madrid-New York / 2012

IGG:   You have claimed that "Ikea builds societies", countering the  motto that announces Ikea interiors as ‘the independent republic of your home. You argue that interiors are key to understanding contemporary social structures and can claim to have a political status, in opposition to those that privilege the city as the paradigmatic sphere for the construction of the social and the ultimate res-publica.


AJ: Yes, I don't think that the paradigm of the city can account for the reality I am attempting to grasp. Even the dialectics urban/rural or urban/suburban are no longer valid. Individuals and groups are no longer shaped by cities or  landscapes, but mainly by the way they establish associations with a series of home-like interiors. We can only account for contemporary subjects and societies if we recognize how they are constructed in association with small architectural devices like living rooms, kitchens, bedrooms, psychotherapy rooms, hotel beds, or bingo tables.

Hangover Urban Growth System

Runner-up in European competition for young architects. With Elena Barroso, Cruz Calleja, Veronica Melendez,  Marina Otero and Fatima Plaza.

Taboadela (Spain) / 2009.


Hangover Urban Growth System is a model of non-anthropocentric urban development aiming at being constantly viabile in time, questioning urban-natural dychotomies, built-non built and center periphery.



Small Museum

Design of an exhibition building within a cultural complex in Ground Zero. With Jose Ahedo

Harvard GSD, Cambridge (USA)/ 2009 (Joshua Prince Ramus, Professor)


The Small Museum considers the relation of small cultural institutions to the diverse formats of contemporary art production, and proposes a moving structure able to transform itself to accomodate the changing requirements of different exhibitions—literally turning around. Its movement becomes a public performance through which the museum renders material the relationship between art and spectacle without falling into its formal celebration. 



Toposcape Urban Intervention

First Prize in European competition for young architects. With Nieves Mestre and Manuel Leira.

Reggio Calabria (Italy) / 2005.


Coming soon.

  • About Open or Close

    [igg - office for architecture] is a design and research office, particularly focusing on architecture's role in the articulation of society. The designs of the office have been awarded in competitions including the First Prize for the New Velodrome in Medellín, and he was finalist to the 2014 Iakov Chernikhov Prize. His work has led to the production of several publications and exhibitions including the installation Cinecittá Occupata for the 2014 Venice Biennale by invitation of the general curator Rem Koolhaas, and is part of the permanent collection of the Pompidou Center.

    The work of the office unfolds through diverse media and platforms and is continuously informed by different kinds of conversations and collaborations. Together with the After Belonging Agency, Ignacio g. Galán is the Chief Curator of the 2016 Oslo Architecture Triennale (Graham Foundation Award 2015). He previously collaborated in the research project Radical Pedagogies, led by Beatriz Colomina at Princeton SOA, and has co-curated its exhibition at the 2013 Lisbon Architecture Triennale and at the 2014 Venice Biennale, where it was awarded a Special Mention of the Jury. 

    Galán was trained at ETSAMadrid and TU Delft, and graduated as a Fulbright Scholar from the MArchII program at Harvard GSD. He has been a Fellow at the Spanish Academy in Rome, and is completing a PhD Candidate at Princeton University. He is Term Assistant Professor in the Department of Architecture at Barnard+Columbia Colleges and has taught studios and seminars at Columbia GSAPP and PennDesign.

  • Statement Open or Close

    We understand architecture as a key agent participating in the articulation of society. 

    We are concerned with architecture's relation to cultural cultural transfers, material exchanges, and population transience in a global context. The relation of these forms of circulation to architecture, conventionally associated with control, enclosure, permanence, and stability, remains a realm for further inquiry and intervention.

    We are additionally interested in the objects, media technologies, and institutions transforming architecture's individual occupations, collective operations, and diverse types of mobilization, particularly concerning the architectures of residence. 

    These emphases lead the work of the office and continuously challenge our methods of analysis and our design practice. 



2016 07 01 > Ignacio G. Galán will join the Architecture Department at Barnard+Columbia Colleges as Term Assistant Professor in Professional Practice.


2016 04 15 > Presenting "Occupations" at the event DIALOGUES: SHELTER organized at the at the Consulate General of Greece in New York.


2016 04 05 >  Lecture "Architecture's Occupations" at School of Visual Arts NYC, within the lecture series of the Department of Design Research, Writing and Criticism.


2016 01 22 > Teaching the studio "Urban Occupations in Rio de Janeiro" as Adjunct Assistant Professor with Juan Herreros at Columbia GSAPP.  Looking forward to working with Studio X Rio and aligning our explorations with their ongoing research on urban squatting.

2016 01 22 > Moderating Transfer Dialogues Series with Juan Herreros and Enrique Walker, gathering GSAPP faculty and students to discuss studio culture on a weekly basis. Panelists include A. Andraos, B.Tschumi, K. Adeyami, L. Kurgan, B. Aranda, J. Liu, J. Rose and G. Ricciardi, M. Wasiuta, M. Bell, L. Hawkinson, A. Jaque, M. Gooden, J. Wu and D. Oyler, L. Gill, G. Solomonoff.

2015 11 11 > Presentation "Beyond Ownership" at the Berlin Lab: "Affordable Housing, Collective culture, and Spaces of Resistance in Contemporary Berlin," organized by the International Federation of Housing and Planning.

2015 10 29 > Lecture "Architecture's Occupations" at BAS, the Bergen Architecture School.

2015 10 27 > Reviews of the seminar "After Belonging" at AHO (Oslo Architecture School)

2015 09 29 > After Belonging launches In Residence: Call for Intervention Strategies at the Strofront Event "Reading Images: After Belonging and the Spaces for a Life in Transit," with the participation of Gro Bonesmo, Eva Franch i Gilabert, Leah Meisterlin, María Nicanor, Julian Rose, and Mark Wigley, along with the curators of the Oslo Architecture Triennale 2016, and with Introductions by the Norwegian Prime Minister, Erna Solberg and the Director of the Oslo Architecture Triennale, Hege Maria Eriksson.

2015 09 04 > Moderating Transfer Dialogues Series with Enrique Walker and Juan Herreros, gathering GSAPP faculty and students to discuss studio culture on a weekly basis. Panelists include Reinhold Martin, Lise Anne Couture, Dominic Leong, Frida Escobedo, Andrés Jaque, Mark Wasiuta, Phu Hoang, Jeffrey Inaba, Jorge Otero-Pailos, Gordon Kipping, Markus Dochantschi, Ziad Jamaleddine, Laurie Hawkinson, Marc Tsurumaki, Mark Rakatansky, Michael Bell, Richard  Plunz.


2015 09-12 > Teaching the seminar "Domestic Networks" at PennDesign and "After Belonging: The architectures of Residence for a Life in Transit" (with the After Belonging Agency) at Columbia GSAPP.

2015 09 15 > The Velodrome Ciudad de Medellin has been acquired for the permanent collection of the Pompidou Center, and is exhibited during the Fall in the exhibition "Une Histoire: Art, Architecture, Design des anneés 1980 à nos jours." 

2015 08 12 > After Belonging receives a Grant from the Graham Foundation for the Advancement of the Arts.

2015 08 04 > Final Review for the Advanced Studio "Occupying Chinatown," taught at Columbia GSAPP with Juan Herreros.