NO.71.
Caro Hotel / Francesc Rifé Studio
• Interiors Designers: Francesc Rifé Studio
• Location: Carrer de l'Almirall, 14, 46003 València, Valencia, Spain
• Area: 2000.0 m2
• Project Year: 2012
• Photographs: Fernando Alda
• Manufacturers: Flos, HAY, Moroso, Marset, ZANOTTA
• Number of rooms: 26
This boutique hotel is made up of many elements that have been revealed throughout the years. The main element in the structure is the imposing wall from Almohad age which reaches 15 metres high. The wall, dated from the 12th century, crosses the rooms in the first floor. The 19th-century staircase is important because it leads to several spaces. Next, to the staircase, there is a mosaic from the 1st century B.C., which is believed to be the oldest in the city, and a segmental arch shows us the way to the bar, continues to the lobby and to the outside deck.
The lobby leads to several spaces: the reception, integrated as a lightbox inside the original exposed brick wall; the staircase, which leads in its turn to the nearest bedrooms and library; the Sucede restaurant’s interior access –recently awarded with one Michelin star– and the public toilets, and finally, the Meta Bar and terrace on the opposite side.
Neutral materials such as resin flooring in very light colours or the arabesque marble for the counter in Meta Bar were chosen. Walls were painted the same colour as the flooring with the aim of integrating them as much as possible with the furniture designed by the studio, which interacts with other signature pieces. All the 26 bedrooms in the hotel are unique. The complexity of the space needed a different, special tratment for each rest area.
Interior designer Francesc Rifé has created this contemporary hotel in the middle of the old town of this vibrant Mediterranean city, just 200m from the cathedral. The building, the Palace of Marquis of Caro, is a mix of different ages, combining Roman mosaics of the 2nd century BC, the Arab wall of the 12th century, and gothic arches and a façade from the 19th century. All of these are mixed by Rifé with clean lines, an abundance of wood, and modern furniture (most of it designed by him). A carefully considered lighting system ensures a warm, intimate atmosphere. The 26 rooms are all different in character, featuring big beds and spa style bathrooms. The gastronomic restaurant (Alma del Temple) and the bar and terrace (Meta Bar) are open to non-guests and are well worth a visit.
Facilities:
Disabled facilities
Restaurant
Outdoor restaurant
Shuttle service
24hr. Reception
Laundry service
Babysitters
Air conditioning
Satellite TV
Safe-deposit box
Hair dryer
Free WiFi
Beach 6 km.
Golf 15 km.
Meeting room 20 Pers.
#Spain , #ruin , #hotel , #interior_design , #lighting
@revitalization
Caro Hotel / Francesc Rifé Studio
• Interiors Designers: Francesc Rifé Studio
• Location: Carrer de l'Almirall, 14, 46003 València, Valencia, Spain
• Area: 2000.0 m2
• Project Year: 2012
• Photographs: Fernando Alda
• Manufacturers: Flos, HAY, Moroso, Marset, ZANOTTA
• Number of rooms: 26
This boutique hotel is made up of many elements that have been revealed throughout the years. The main element in the structure is the imposing wall from Almohad age which reaches 15 metres high. The wall, dated from the 12th century, crosses the rooms in the first floor. The 19th-century staircase is important because it leads to several spaces. Next, to the staircase, there is a mosaic from the 1st century B.C., which is believed to be the oldest in the city, and a segmental arch shows us the way to the bar, continues to the lobby and to the outside deck.
The lobby leads to several spaces: the reception, integrated as a lightbox inside the original exposed brick wall; the staircase, which leads in its turn to the nearest bedrooms and library; the Sucede restaurant’s interior access –recently awarded with one Michelin star– and the public toilets, and finally, the Meta Bar and terrace on the opposite side.
Neutral materials such as resin flooring in very light colours or the arabesque marble for the counter in Meta Bar were chosen. Walls were painted the same colour as the flooring with the aim of integrating them as much as possible with the furniture designed by the studio, which interacts with other signature pieces. All the 26 bedrooms in the hotel are unique. The complexity of the space needed a different, special tratment for each rest area.
Interior designer Francesc Rifé has created this contemporary hotel in the middle of the old town of this vibrant Mediterranean city, just 200m from the cathedral. The building, the Palace of Marquis of Caro, is a mix of different ages, combining Roman mosaics of the 2nd century BC, the Arab wall of the 12th century, and gothic arches and a façade from the 19th century. All of these are mixed by Rifé with clean lines, an abundance of wood, and modern furniture (most of it designed by him). A carefully considered lighting system ensures a warm, intimate atmosphere. The 26 rooms are all different in character, featuring big beds and spa style bathrooms. The gastronomic restaurant (Alma del Temple) and the bar and terrace (Meta Bar) are open to non-guests and are well worth a visit.
Facilities:
Disabled facilities
Restaurant
Outdoor restaurant
Shuttle service
24hr. Reception
Laundry service
Babysitters
Air conditioning
Satellite TV
Safe-deposit box
Hair dryer
Free WiFi
Beach 6 km.
Golf 15 km.
Meeting room 20 Pers.
#Spain , #ruin , #hotel , #interior_design , #lighting
@revitalization
This unitary plane of amber cream natural stone of small format and neutral tone, is removed on the perimeter to reveal the original remains of floors and baseboards. The recovery and restoration of the existing gaps establishes conceptual ties with the intervention carried out in the 16th century in which the relationship of the buildings with the gardens intensifies. The natural lighting of the rooms through said openings - now glazed - is complemented by an indirect system directed towards the coatings preserved at the base of the walls, generating a warm and enveloping atmosphere, integrating the new pavement with the historic factories.
#Spain, #interior_design , #palace , #basin , #lighting , #archeology , #refurbishment
@revitalization
#Spain, #interior_design , #palace , #basin , #lighting , #archeology , #refurbishment
@revitalization
NO.99.
New Access to Gironella's Historic Center / Carles Enrich
URBAN DESIGN, INFRASTRUCTURE
•
GIRONELLA, SPAIN
• Architects: Carles Enrich
• Year:2015
• Collaborators: Adriana Campmany, Àngel Rosales, Ada Sánchez
• Structure: MA+SAad
• Budget: Jaume Morro
• Project Promoter: Servei de Patrimoni Arquitectònic Local. Diputació de Barcelona.
• Constructor: Solà Cardona
Text description provided by the architects. Gironella is a municipality that has grown, during the last decades, divided by the river Llobregat. Its historic centre is located on top of a 20 metres high hill on the right bank of the river, where the medieval castle, whose wall is declared a BCIN, was set.
Edging
The modern part of Gironella is placed on the other side of the river, next to the road linking Barcelona with Berga, favoured by a more flat topography, which has allowed an expanding urban growth.
Urban discontinuity.
The 20 metres vertical break between the old and new parts of the town has generated a social fracture. Over the years, the historic centre has been depopulated due to difficulties in accessibility. The narrow stepped streets that lead to the Vila Square represent a huge effort to the elderly and the little ones.
The proposal involves the insertion of a new access to the historic centre to enhance the urban connectivity between the two parts of the town, boosting the use of the old town and avoiding social exclusion.
Cal Metre path recovery.
Gironella’s river facade is formed by a series of medieval remains that mean an architectural and historic heritage for the town, just as so are the industrial colonies of the early twentieth century along the river.
Our proposal seeks to be integrated respectfully as a new layer in the historical memory of the place. We suggest the location of an elevator in a strategic point of Cal Metre path, through where people used to get to the textile industries.
The elevator will improve the accessibility to the old town but it will also be a trigger to recover the use of this ancient river passage offering new urban continuity with the Vila Square public space.
Materiality.
Our intention is to dialog with all these pre-existences, enhancing a relation with the textile industries and recognizing the green stratum as a public space.
To this end we solve the case of the elevator with 3 materials: steel, ceramic and glass.
Structure.
The steel structure is done entirely in a local workshop and it is moved to the work area in 4 tranches that are definitely placed in 4 different days. It consists of 80.8 tubular columns and 80.8 tubular rings placed every 1.5 metres. Some L 100 profiles welded to the rings allow holding the ceramic lattice sections.
Porosity.
A ceramic lattice made by holed bricks placed on their side faces covers the 16 upper metres.
The choice of this enclosure material responds, on the one hand, to its role as a solar filter offering at the same time porosity, light entrance and ventilation to the elevator case. On the other hand, it dematerializes the case by letting the light go across it provoking an appearance of lightness that contrasts with the opacity that it is shown in a farther point of view.
Visual contact.
The lattice closes three of the four sides of the structure. The inner face is left open allowing a visual relation with the stone wall during the entire journey.
The lower 8 metres of the case have a glazed enclosure. Its transparency ensures a close relation with Cal Metre river path and its trees, which create a magnificent shadow area that changes with the seasons.
To favour the relationship between the elevator and the activities that take place in the square, the elevators façade towards it is made of glass.
#Spain , #public_space , #landmark, #structure , #urban_design , #infrastructure , #elevator , #accessibility
@revitalization
New Access to Gironella's Historic Center / Carles Enrich
URBAN DESIGN, INFRASTRUCTURE
•
GIRONELLA, SPAIN
• Architects: Carles Enrich
• Year:2015
• Collaborators: Adriana Campmany, Àngel Rosales, Ada Sánchez
• Structure: MA+SAad
• Budget: Jaume Morro
• Project Promoter: Servei de Patrimoni Arquitectònic Local. Diputació de Barcelona.
• Constructor: Solà Cardona
Text description provided by the architects. Gironella is a municipality that has grown, during the last decades, divided by the river Llobregat. Its historic centre is located on top of a 20 metres high hill on the right bank of the river, where the medieval castle, whose wall is declared a BCIN, was set.
Edging
The modern part of Gironella is placed on the other side of the river, next to the road linking Barcelona with Berga, favoured by a more flat topography, which has allowed an expanding urban growth.
Urban discontinuity.
The 20 metres vertical break between the old and new parts of the town has generated a social fracture. Over the years, the historic centre has been depopulated due to difficulties in accessibility. The narrow stepped streets that lead to the Vila Square represent a huge effort to the elderly and the little ones.
The proposal involves the insertion of a new access to the historic centre to enhance the urban connectivity between the two parts of the town, boosting the use of the old town and avoiding social exclusion.
Cal Metre path recovery.
Gironella’s river facade is formed by a series of medieval remains that mean an architectural and historic heritage for the town, just as so are the industrial colonies of the early twentieth century along the river.
Our proposal seeks to be integrated respectfully as a new layer in the historical memory of the place. We suggest the location of an elevator in a strategic point of Cal Metre path, through where people used to get to the textile industries.
The elevator will improve the accessibility to the old town but it will also be a trigger to recover the use of this ancient river passage offering new urban continuity with the Vila Square public space.
Materiality.
Our intention is to dialog with all these pre-existences, enhancing a relation with the textile industries and recognizing the green stratum as a public space.
To this end we solve the case of the elevator with 3 materials: steel, ceramic and glass.
Structure.
The steel structure is done entirely in a local workshop and it is moved to the work area in 4 tranches that are definitely placed in 4 different days. It consists of 80.8 tubular columns and 80.8 tubular rings placed every 1.5 metres. Some L 100 profiles welded to the rings allow holding the ceramic lattice sections.
Porosity.
A ceramic lattice made by holed bricks placed on their side faces covers the 16 upper metres.
The choice of this enclosure material responds, on the one hand, to its role as a solar filter offering at the same time porosity, light entrance and ventilation to the elevator case. On the other hand, it dematerializes the case by letting the light go across it provoking an appearance of lightness that contrasts with the opacity that it is shown in a farther point of view.
Visual contact.
The lattice closes three of the four sides of the structure. The inner face is left open allowing a visual relation with the stone wall during the entire journey.
The lower 8 metres of the case have a glazed enclosure. Its transparency ensures a close relation with Cal Metre river path and its trees, which create a magnificent shadow area that changes with the seasons.
To favour the relationship between the elevator and the activities that take place in the square, the elevators façade towards it is made of glass.
#Spain , #public_space , #landmark, #structure , #urban_design , #infrastructure , #elevator , #accessibility
@revitalization
NO.106.
Espai CEL – Thermal Baths / Arquetipus projectes arquitectònics
SPA, THERM, CALDES DE MONTBUI, SPAIN
• Architects: Arquetipus projectes arquitectònics
• Area:553.0 m²
• Year:2019
• Manufacturers: Aco, Cosentino, Mapei, Porcelanosa, TOPCRET, Microsoft, Autodesk
• Design Team: Maria Almirall Ferrerons, Ferran Robusté Cumplido
• Draftsman: Raquel García Pérez
• Clients: Balneario Termas Victòria S.A
• Planimetric Survey: Enric Forgas - CARTSIG Serveis Topogràfics
• Structural Engineering: RV4 - Emma Leach y Carme Bernal
• Technical Architect: Josep Rubies
• Contractor: Construcciones Francisco Rubio
Text description provided by the architects. With the aim to create a new thermal water space in the pre-existing building of the Termes Victòria Spa Hotel in Caldes de Montbui, we proposed to enter the spaces created about 250 years ago, and used historically for the reservoir of the original thermal water and of the cooled thermal water for the use mainly curative and well-being of people. Its function of deposits had always left them hidden to the visitor and their discovery was key to deciding that it was a captivating place to show and to convert it as a unique space for the enjoyment of the senses. In the spaces of the old deposits and also partly in the traditional bath gallery, the different swimming pools have been located, each with some characteristic different from the other, but all of them created for the purpose of relaxing and enjoying the mineral-medicinal properties of the thousand year old thermal water.
With the will of being as neutral as possible, we chose to preserve the footprint of the different historical periods that the space has experienced. The original stone, the phase of the walls covered with the conservation of the water mark and the current period in which contemporary elements and materials can clearly be read. The white stone that covers most of the surfaces brings us the memory of the bathtubs still today in use in the traditional thermal spa. Especially intense and interesting for our team and also for the property was the whole process of discovery, data collection, writing of the project, the work and the study of all the sensory factors.
The peculiarity is that at the moment that we decided to work inside, the deposits are still in use and they are full of water. This forced us to make very accurate data in a very short time, knowing that we would not be able to access there again after one year, at the beginning of the works. During the writing of the project we also discovered the existence of a large stream that collects much of the waters of Caldes and runs exactly below the main gallery, and on which one of the main vessels has been located. Finally, the execution, while the hotel building was in full use, forced us to carry out with a very careful coordination to minimize the negative effects of the work on the users of the establishment. In the final result it can be perceived all this intensity and care in the works and in the details, and it is a space that invites you to see it but especially to live it.
#Spain, #lighting , #spa , #bath , #interior_design, #landscape , #terme , #hotel , #glass
@revitalization
Espai CEL – Thermal Baths / Arquetipus projectes arquitectònics
SPA, THERM, CALDES DE MONTBUI, SPAIN
• Architects: Arquetipus projectes arquitectònics
• Area:553.0 m²
• Year:2019
• Manufacturers: Aco, Cosentino, Mapei, Porcelanosa, TOPCRET, Microsoft, Autodesk
• Design Team: Maria Almirall Ferrerons, Ferran Robusté Cumplido
• Draftsman: Raquel García Pérez
• Clients: Balneario Termas Victòria S.A
• Planimetric Survey: Enric Forgas - CARTSIG Serveis Topogràfics
• Structural Engineering: RV4 - Emma Leach y Carme Bernal
• Technical Architect: Josep Rubies
• Contractor: Construcciones Francisco Rubio
Text description provided by the architects. With the aim to create a new thermal water space in the pre-existing building of the Termes Victòria Spa Hotel in Caldes de Montbui, we proposed to enter the spaces created about 250 years ago, and used historically for the reservoir of the original thermal water and of the cooled thermal water for the use mainly curative and well-being of people. Its function of deposits had always left them hidden to the visitor and their discovery was key to deciding that it was a captivating place to show and to convert it as a unique space for the enjoyment of the senses. In the spaces of the old deposits and also partly in the traditional bath gallery, the different swimming pools have been located, each with some characteristic different from the other, but all of them created for the purpose of relaxing and enjoying the mineral-medicinal properties of the thousand year old thermal water.
With the will of being as neutral as possible, we chose to preserve the footprint of the different historical periods that the space has experienced. The original stone, the phase of the walls covered with the conservation of the water mark and the current period in which contemporary elements and materials can clearly be read. The white stone that covers most of the surfaces brings us the memory of the bathtubs still today in use in the traditional thermal spa. Especially intense and interesting for our team and also for the property was the whole process of discovery, data collection, writing of the project, the work and the study of all the sensory factors.
The peculiarity is that at the moment that we decided to work inside, the deposits are still in use and they are full of water. This forced us to make very accurate data in a very short time, knowing that we would not be able to access there again after one year, at the beginning of the works. During the writing of the project we also discovered the existence of a large stream that collects much of the waters of Caldes and runs exactly below the main gallery, and on which one of the main vessels has been located. Finally, the execution, while the hotel building was in full use, forced us to carry out with a very careful coordination to minimize the negative effects of the work on the users of the establishment. In the final result it can be perceived all this intensity and care in the works and in the details, and it is a space that invites you to see it but especially to live it.
#Spain, #lighting , #spa , #bath , #interior_design, #landscape , #terme , #hotel , #glass
@revitalization
NO.113
Contemporary Art Space in the Former Convent of Madre de Dios / Sol89
SEVILLA, SPAIN
• Architects: Sol89
• Area:830.0 m²
• Year:2014
• Installations: Alejandro Cabanas
• Architecture Students: Andrés Pino, George Smudge
• Building Company: Cotracom
• Promoter: Centro de Iniciativas Culturales de la Universidad de Sevilla
The intervention interprets the building where is inserted, an old convent, as a context in constant transformation over time. The project arises from a reflection on the creative process in contemporary art, its unpredictable condition and the current dissolution of limits between the space of production and exhibition.
We can recognize that much of contemporary art expression understands the architectural space as a matter of work (we remember Shibboleth by Doris Salcedo breaking the floor of the Tate Modern in London in 2007, High Plane V by Katterin Sigurdardottir occupying the false ceiling of the PS1 in New York or Esto no es un graffiti where artists demolished some facings of walls in the same place of our project).
We think the contemporary exhibition space shouldn’t be projected like a static room in time but like a neverending space in ellipsis, waiting for each exhibition come for completing it. The intervention is projected like a variable and reversible space. The walls and ceiling will be covered by slats of wood, the separation between them will allow seeing the original brick walls, showing the textures of the bricks and the wounds caused by centuries that we have discovered in this first phase, that narrate time builds too as in Yourcenar’s quote.
At the same time, this wooden structure overlapped to the ancient walls will allow the access to all installations in any point of space. Our intervention will act as an initial installation in the space rather than an architectural construction. A temporary display related to the existing volume that enables the development of future exhibitions and could be disassembled like one of these, revealing what is truly valuable in this old building in a patrimonial sense is the matter, space and light rather than styles or decorations.
#Spain , #convent , #gallery , #glass , #metal , #lighting
@revitalization
Contemporary Art Space in the Former Convent of Madre de Dios / Sol89
SEVILLA, SPAIN
• Architects: Sol89
• Area:830.0 m²
• Year:2014
• Installations: Alejandro Cabanas
• Architecture Students: Andrés Pino, George Smudge
• Building Company: Cotracom
• Promoter: Centro de Iniciativas Culturales de la Universidad de Sevilla
The intervention interprets the building where is inserted, an old convent, as a context in constant transformation over time. The project arises from a reflection on the creative process in contemporary art, its unpredictable condition and the current dissolution of limits between the space of production and exhibition.
We can recognize that much of contemporary art expression understands the architectural space as a matter of work (we remember Shibboleth by Doris Salcedo breaking the floor of the Tate Modern in London in 2007, High Plane V by Katterin Sigurdardottir occupying the false ceiling of the PS1 in New York or Esto no es un graffiti where artists demolished some facings of walls in the same place of our project).
We think the contemporary exhibition space shouldn’t be projected like a static room in time but like a neverending space in ellipsis, waiting for each exhibition come for completing it. The intervention is projected like a variable and reversible space. The walls and ceiling will be covered by slats of wood, the separation between them will allow seeing the original brick walls, showing the textures of the bricks and the wounds caused by centuries that we have discovered in this first phase, that narrate time builds too as in Yourcenar’s quote.
At the same time, this wooden structure overlapped to the ancient walls will allow the access to all installations in any point of space. Our intervention will act as an initial installation in the space rather than an architectural construction. A temporary display related to the existing volume that enables the development of future exhibitions and could be disassembled like one of these, revealing what is truly valuable in this old building in a patrimonial sense is the matter, space and light rather than styles or decorations.
#Spain , #convent , #gallery , #glass , #metal , #lighting
@revitalization
They were for later: the monumental lighting and for the night visit; the intervention in the upper viewpoint and its access from the stands; and the treatment of the portico, since archaeological investigations are allowing for more complex interpretations than previously available.
The current works Given the time constraints for the execution of the works, at this moment they will be carried out: the intervention in the stands, a first phase of execution of infrastructure and restoration of the stage and orchestra, as well as the adaptation of accesses and interior tours.
The archaeological ruins of the Itálica theater that we can see today, and what we can know about them, are the result of a long process of excavations and interventions, which are already part of its history. It is, therefore, our starting point.
Returning the initial use to the Teatro de Itálica means recovering an activity that has been preserved over time, and which today is still alive and functionally linked to the architecture with which it was born and evolved.
The “stage box”, now ephemeral and removable, will have the triple function of sheltering the tight reconstruction of the stage front, serving as a screen that isolates the scope of performances from outside noise and equipping it with the necessary infrastructures to develop a certain type of show.
Furthermore, this intervention now is understood as the mere start of a process, time-consuming, but correctly planned, which will conclude with the stated objectives of recovering the monument, including anastilosis or reconstruction of the front of the stage, allowing musealization. of a large number of original pieces preserved
#Spain , #theater , #museum , #excavation , #archeology, #Anastylosis , #adaptation
@revitalization
The current works Given the time constraints for the execution of the works, at this moment they will be carried out: the intervention in the stands, a first phase of execution of infrastructure and restoration of the stage and orchestra, as well as the adaptation of accesses and interior tours.
The archaeological ruins of the Itálica theater that we can see today, and what we can know about them, are the result of a long process of excavations and interventions, which are already part of its history. It is, therefore, our starting point.
Returning the initial use to the Teatro de Itálica means recovering an activity that has been preserved over time, and which today is still alive and functionally linked to the architecture with which it was born and evolved.
The “stage box”, now ephemeral and removable, will have the triple function of sheltering the tight reconstruction of the stage front, serving as a screen that isolates the scope of performances from outside noise and equipping it with the necessary infrastructures to develop a certain type of show.
Furthermore, this intervention now is understood as the mere start of a process, time-consuming, but correctly planned, which will conclude with the stated objectives of recovering the monument, including anastilosis or reconstruction of the front of the stage, allowing musealization. of a large number of original pieces preserved
#Spain , #theater , #museum , #excavation , #archeology, #Anastylosis , #adaptation
@revitalization
NO.120
La Rectoria Chidren’s Summer Camp / OAB
•
NAVÈS, Lleida, SPAIN
Architects: OAB , Carlos FerraterNuria Ayala
• Area:1130.0 m²
• Year:2015
Collaborators: Alexandre Pararols
Structural consulting: Javier Monte
The Rectoría de la Selva hostel is located where the rectory of the church of Sant Climent once stood. The current church was built during the 17th century and, like the belfry, is made of squared and textured stone. The church is south-facing, with a rectangular apse to the north. Not all was newly built, for part of the front wall and the lower stretches of the belfry might have made use of the earlier Romanesque church. On the main façade there is a great portal with a semicircular arch and large voussoirs, plus a small rose window of stones of a certain size.
The inside of the church is simple, in the classical style, while the liturgical features are contemporary, since the original altars were destroyed during the civil war. Above the church vault there is a chamber, built at the same time as the church and the rectory. The rectory, an annex on the west wing of the church, is square in plan and has two floors. It is a building typical of El Solsonès, with a stone structure, thick walls and a gabled roof with a lining of wood. It also has a north-facing porch. Visible from the porch is the newly constructed building, which was created when it was already a hostel, with a service area. This complex, of more than 25,000 m2, also has a camping site, swimming pool and multisports court, as well as another newly constructed building perfectly integrated within the landscape, which functions as a lounge area.
A youth hostel is an installation intended, permanently or temporarily, to provide accommodation, as a place of passage, for staying or performing an activity in, for young people as individuals or collectively, and also, in certain circumstances, for families, adults and groups of children.
The object of this project is the upgrading of the existing edification and of the leisure activities to suit present-day needs and criteria. It is for this reason that we have studied the use of the construction and have arrived at the conclusion, along with the client, that the actual layout is wanting.
This is why we propose the functional redistribution of the different areas, with the design emphasis on programmatic criteria for inserting the current uses within the structural scheme and the present architectural configuration.
Furthermore, the roof must be remodeled as it is not in good repair, with a lot of rainwater leakage, which is obviously prejudicial to interior habitability. When positing the complete replacement of the roof, we have thought it opportune to create various skylights, in order to facilitate the entrance of natural light to the interior atrium.
The complex has vehicle access, both to the hostel and to the exterior open space of the Vicaría de la Selva, so as to undertake the outside activities that are programmed.
It must also be said that the parameters and personal choice of the Fundació Catalana de l’Esplai mean that its buildings have to be adapted for use by the disabled and designed from the first according to sustainable criteria—which is how we have tackled this project.
The new programmatic layout will lead to the appearance of small apertures in the interior space’s subdividing walls, plus new partitions in the rooms.
#Spain , #church, #children , #hostel , #camping
@revitalization
La Rectoria Chidren’s Summer Camp / OAB
•
NAVÈS, Lleida, SPAIN
Architects: OAB , Carlos FerraterNuria Ayala
• Area:1130.0 m²
• Year:2015
Collaborators: Alexandre Pararols
Structural consulting: Javier Monte
The Rectoría de la Selva hostel is located where the rectory of the church of Sant Climent once stood. The current church was built during the 17th century and, like the belfry, is made of squared and textured stone. The church is south-facing, with a rectangular apse to the north. Not all was newly built, for part of the front wall and the lower stretches of the belfry might have made use of the earlier Romanesque church. On the main façade there is a great portal with a semicircular arch and large voussoirs, plus a small rose window of stones of a certain size.
The inside of the church is simple, in the classical style, while the liturgical features are contemporary, since the original altars were destroyed during the civil war. Above the church vault there is a chamber, built at the same time as the church and the rectory. The rectory, an annex on the west wing of the church, is square in plan and has two floors. It is a building typical of El Solsonès, with a stone structure, thick walls and a gabled roof with a lining of wood. It also has a north-facing porch. Visible from the porch is the newly constructed building, which was created when it was already a hostel, with a service area. This complex, of more than 25,000 m2, also has a camping site, swimming pool and multisports court, as well as another newly constructed building perfectly integrated within the landscape, which functions as a lounge area.
A youth hostel is an installation intended, permanently or temporarily, to provide accommodation, as a place of passage, for staying or performing an activity in, for young people as individuals or collectively, and also, in certain circumstances, for families, adults and groups of children.
The object of this project is the upgrading of the existing edification and of the leisure activities to suit present-day needs and criteria. It is for this reason that we have studied the use of the construction and have arrived at the conclusion, along with the client, that the actual layout is wanting.
This is why we propose the functional redistribution of the different areas, with the design emphasis on programmatic criteria for inserting the current uses within the structural scheme and the present architectural configuration.
Furthermore, the roof must be remodeled as it is not in good repair, with a lot of rainwater leakage, which is obviously prejudicial to interior habitability. When positing the complete replacement of the roof, we have thought it opportune to create various skylights, in order to facilitate the entrance of natural light to the interior atrium.
The complex has vehicle access, both to the hostel and to the exterior open space of the Vicaría de la Selva, so as to undertake the outside activities that are programmed.
It must also be said that the parameters and personal choice of the Fundació Catalana de l’Esplai mean that its buildings have to be adapted for use by the disabled and designed from the first according to sustainable criteria—which is how we have tackled this project.
The new programmatic layout will lead to the appearance of small apertures in the interior space’s subdividing walls, plus new partitions in the rooms.
#Spain , #church, #children , #hostel , #camping
@revitalization
NO.121
Burgos Railway Station Refurbishment / Contell-Martínez Arquitectos
•
TRAIN STATION, RENOVATION
•
BURGOS, SPAIN
• Architects: Contell-Martínez Arquitectos
• Area: 2347.0 m²
• Year: 2016
• Manufacturers: Heradesign, Viroc, Mazarrón tejas
• Quantity Surveyors: Vicente Sevila, José Ignacio Maté
• Strcture: Francisco Javier Cases
• Sv Engineering: Leing S.L.
• Old Railway Station: 2.347,46 m2
• Pergola: 226,94 m2
• Urbanization: 4.853,00 m2
• WORK SELECTED AT THE XIV SPANISH BIENNIAL OF ARCHITECTURE AND URBAN PLANNING (BEAU)
• WORK SELECTED IN THE VI 2016-2017 EDITION OF THE ARQUIA PROXIMA PROGRAM
• WORK SELECTED IN THE III TIS HISPALYT ARCHITECTURE AWARD 2015-2017 - REHABILITATION CATEGORY
Text description provided by the architects. The project aims to rehabilitate the Old Railway Station to accommodate a recreational and leisure program intended primarily for children and youth. The intervention extends, on one side, over the Station Square (former Travelers Courtyard) as a pedestrian and relationship space and, on the other side, a boulevard that is today where the railways used to be.
In order to contextualize and integrate the building, a new pergola is built adapting its shape to this new boulevard. It serves not only as a transition between the scale of the building and the green area but also it remains to the great iron and glass marquee that protected the railways and the platforms. This pergola serves now as support for the cafe as well as it dilutes the boundaries of the building in relation with the west side wooded area.
The intervention proposed in the Travelers Building seeks to recover its essence, adapting the construction to the new intended use. This is achieved by reinterpreting in depth the spatial whole conception, as well as the physical and visual relationship between the parts that characterize it as an architectural piece.
The building is structured along a linear axis and is divided into the different areas requested in the program: In the east wing, the children's area; in the west one the restaurant and cafe area; in the access space, at the old mezzanine level, the administration and on the first floor, the youth area. Finally, the three towers are joined through walkways with stairways at the ends.
The core of vertical communications and services is strategically built in the central body, this allows the individual use of the different building areas without the need to duplicate communication elements or toilets, while allowing facilities concentration.
In the access to the building from the Travelers Courtyard, the original space is recovered thanks to two canopies that penetrate in the building, which also serves as windbreaks. These define the access point and the original geometry by reinterpreting that element.
Inside, loading walls are cut down on the ground floor to achieve a fluid space and to get visual continuity between the different bodies. At the same time, the mezzanine slab, which was executed with little fortune in the middle of the twentieth century fragmenting the original height of the ground floor space, is completely eliminated. This level is only partially recovered at the access, after crossing a threshold with the original height of the Train Station, which achieves a compression of the space prior to accessing to the lateral bodies.
#Spain , #train_station, #children , #metal , #lighting , #interior_design
@revitalization
Burgos Railway Station Refurbishment / Contell-Martínez Arquitectos
•
TRAIN STATION, RENOVATION
•
BURGOS, SPAIN
• Architects: Contell-Martínez Arquitectos
• Area: 2347.0 m²
• Year: 2016
• Manufacturers: Heradesign, Viroc, Mazarrón tejas
• Quantity Surveyors: Vicente Sevila, José Ignacio Maté
• Strcture: Francisco Javier Cases
• Sv Engineering: Leing S.L.
• Old Railway Station: 2.347,46 m2
• Pergola: 226,94 m2
• Urbanization: 4.853,00 m2
• WORK SELECTED AT THE XIV SPANISH BIENNIAL OF ARCHITECTURE AND URBAN PLANNING (BEAU)
• WORK SELECTED IN THE VI 2016-2017 EDITION OF THE ARQUIA PROXIMA PROGRAM
• WORK SELECTED IN THE III TIS HISPALYT ARCHITECTURE AWARD 2015-2017 - REHABILITATION CATEGORY
Text description provided by the architects. The project aims to rehabilitate the Old Railway Station to accommodate a recreational and leisure program intended primarily for children and youth. The intervention extends, on one side, over the Station Square (former Travelers Courtyard) as a pedestrian and relationship space and, on the other side, a boulevard that is today where the railways used to be.
In order to contextualize and integrate the building, a new pergola is built adapting its shape to this new boulevard. It serves not only as a transition between the scale of the building and the green area but also it remains to the great iron and glass marquee that protected the railways and the platforms. This pergola serves now as support for the cafe as well as it dilutes the boundaries of the building in relation with the west side wooded area.
The intervention proposed in the Travelers Building seeks to recover its essence, adapting the construction to the new intended use. This is achieved by reinterpreting in depth the spatial whole conception, as well as the physical and visual relationship between the parts that characterize it as an architectural piece.
The building is structured along a linear axis and is divided into the different areas requested in the program: In the east wing, the children's area; in the west one the restaurant and cafe area; in the access space, at the old mezzanine level, the administration and on the first floor, the youth area. Finally, the three towers are joined through walkways with stairways at the ends.
The core of vertical communications and services is strategically built in the central body, this allows the individual use of the different building areas without the need to duplicate communication elements or toilets, while allowing facilities concentration.
In the access to the building from the Travelers Courtyard, the original space is recovered thanks to two canopies that penetrate in the building, which also serves as windbreaks. These define the access point and the original geometry by reinterpreting that element.
Inside, loading walls are cut down on the ground floor to achieve a fluid space and to get visual continuity between the different bodies. At the same time, the mezzanine slab, which was executed with little fortune in the middle of the twentieth century fragmenting the original height of the ground floor space, is completely eliminated. This level is only partially recovered at the access, after crossing a threshold with the original height of the Train Station, which achieves a compression of the space prior to accessing to the lateral bodies.
#Spain , #train_station, #children , #metal , #lighting , #interior_design
@revitalization
NO.129
Can Sau. Emergency Scener / unparelld’arquitectes
Consolidation and adaptation of a party wall in the center of Olot, SPAIN
• Architects: unparelld’arquitectes
• Area: 113.0 m²
• Year: 2019
• Manufacturers: Modern Masters, Rajoleria Llensa, Rixaab
• Lead Architect: Eduard Callís, Guillem Moliner
• Lead Artist: Quim Domene
• Design Team: Clàudia Calvet, Xevi Rodeja, Sara Palmada, Sergi Jiménez
• Client: Olot town hall
• Builder: Construo Construccions Generals
• Consultants: Amaia López, Structural designer
•
The Tura church, confined between narrow streets, gains a public space, presided by the blinded door of the previous temple of the XV century.
--------
unparelld’arquitectes has transformed a party wall in the old city center of olot, spain, with an inhabitable brick façade of three vaults and four niches. titled can sau emergency scenery, the intervention offers a new public space while consolidating the party wall and guaranteeing its waterproof qualities. the structure completes the four existing stepped buttresses it has been built upon, revealing in the background the traces of domestic activity marked on the party wall.
unparelld’arquitectes’ intervention occupies an urban void in the old city center of olot, created when half of can sau building was demolished for street alignment purposes. the empty lot is characterized by a party wall and four stepped buttresses that faced the side façade of the church of the patron saint of olot. ‘in the compact city, the façades take responsibility for giving shape and character to the street,’ explains the local architecture studio. as such, apart from guaranteeing the waterproof qualities of the party wall, the studio has transformed the abandoned lot into a public space where a porous façade offers the background for various cultural activities and social interactions.
using hollow bricks, unparelld’arquitectes built an emergency scenery that completes what the four existing buttresses suggest, revealing traces of domestic activity marked on the party wall. the construction comprises three vaults and four niches, accompanied by a minimum of stands. visual artist, quim domene, intervened a posteriori in the niches, with elements allegorical to the history of the neighborhood.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting
@revitalization
Can Sau. Emergency Scener / unparelld’arquitectes
Consolidation and adaptation of a party wall in the center of Olot, SPAIN
• Architects: unparelld’arquitectes
• Area: 113.0 m²
• Year: 2019
• Manufacturers: Modern Masters, Rajoleria Llensa, Rixaab
• Lead Architect: Eduard Callís, Guillem Moliner
• Lead Artist: Quim Domene
• Design Team: Clàudia Calvet, Xevi Rodeja, Sara Palmada, Sergi Jiménez
• Client: Olot town hall
• Builder: Construo Construccions Generals
• Consultants: Amaia López, Structural designer
•
The Tura church, confined between narrow streets, gains a public space, presided by the blinded door of the previous temple of the XV century.
--------
unparelld’arquitectes has transformed a party wall in the old city center of olot, spain, with an inhabitable brick façade of three vaults and four niches. titled can sau emergency scenery, the intervention offers a new public space while consolidating the party wall and guaranteeing its waterproof qualities. the structure completes the four existing stepped buttresses it has been built upon, revealing in the background the traces of domestic activity marked on the party wall.
unparelld’arquitectes’ intervention occupies an urban void in the old city center of olot, created when half of can sau building was demolished for street alignment purposes. the empty lot is characterized by a party wall and four stepped buttresses that faced the side façade of the church of the patron saint of olot. ‘in the compact city, the façades take responsibility for giving shape and character to the street,’ explains the local architecture studio. as such, apart from guaranteeing the waterproof qualities of the party wall, the studio has transformed the abandoned lot into a public space where a porous façade offers the background for various cultural activities and social interactions.
using hollow bricks, unparelld’arquitectes built an emergency scenery that completes what the four existing buttresses suggest, revealing traces of domestic activity marked on the party wall. the construction comprises three vaults and four niches, accompanied by a minimum of stands. visual artist, quim domene, intervened a posteriori in the niches, with elements allegorical to the history of the neighborhood.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting
@revitalization
NO.130
Recovery of Merola’s Tower / Carles Enrich Studio
RESTORATION, LANDMARKS & MONUMENTS
•
PUIG-REIG, SPAIN
• Arquitectos: Carles Enrich Studio
• Area: 40.0 m²
• Year: 2019
• Manufacturers: AutoDesk, Tallfusta
• Lead Architect: Carles Enrich Giménez
• Clients: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona) and Puig-reig Town Council
• Engineering: MASAad
• Landscaping: Carles Enrich Studio
• Collaborators: Brufau Cusó (executive supervision)
• Built Area Tower: 40 m2
• Built Area Environment: 160 m2
In the south of the municipality of Puig-reig stand the remains of the heritage site of the castle of Merola, dating from the late thirteenth century. Due to the documented earth tremors that shook Catalonia in the 1500s, only one of the faces of the defense tower, originally with a rectangular plant of 5 x 3,8 m and 14,8 m height, is still standing. The detachment of a part of its coronation in 2016 puts Puig-reig Town Council on alert. The high risk of collapse, with the subsequent loss of the monument, called for an intervention to guarantee the preservation of the remains and recover the building for the village and as an attraction for visitors.
Two basic lines of intervention were adopted to meet these aims: the consolidation of the surviving remains and the reinforcement of the medieval structure. Reinforcement takes the form of a timber structure comprising 18 sections of 14-cm square that follow the original perimeter of the stone wall. Like scaffolding, it structurally stabilizes the pre-existing construction, recovers the original volume and restores its function in the territory as a lookout and defense point.
The new structure resolves the functional reinforcement conditions and establishes a dialogue with the pre-existing stone wall, evidencing the intervention with respect to the original construction. The missing foundation is recovered with lime concrete and the two structures are tied using wooden profiles anchored to the stone canvas at 14 points.
The insertion of a stairway inside the structure provides access to the three original levels of circulation and facilitates future maintenance of the monument. The ascent to the upper level of the tower recovers a point of view that had been inaccessible since the fifteenth century.
Finally, the stones found in the archaeological excavation are reused to delimit the intervention and show the original demolition material.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting , #landmark
@revitalization
Recovery of Merola’s Tower / Carles Enrich Studio
RESTORATION, LANDMARKS & MONUMENTS
•
PUIG-REIG, SPAIN
• Arquitectos: Carles Enrich Studio
• Area: 40.0 m²
• Year: 2019
• Manufacturers: AutoDesk, Tallfusta
• Lead Architect: Carles Enrich Giménez
• Clients: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona) and Puig-reig Town Council
• Engineering: MASAad
• Landscaping: Carles Enrich Studio
• Collaborators: Brufau Cusó (executive supervision)
• Built Area Tower: 40 m2
• Built Area Environment: 160 m2
In the south of the municipality of Puig-reig stand the remains of the heritage site of the castle of Merola, dating from the late thirteenth century. Due to the documented earth tremors that shook Catalonia in the 1500s, only one of the faces of the defense tower, originally with a rectangular plant of 5 x 3,8 m and 14,8 m height, is still standing. The detachment of a part of its coronation in 2016 puts Puig-reig Town Council on alert. The high risk of collapse, with the subsequent loss of the monument, called for an intervention to guarantee the preservation of the remains and recover the building for the village and as an attraction for visitors.
Two basic lines of intervention were adopted to meet these aims: the consolidation of the surviving remains and the reinforcement of the medieval structure. Reinforcement takes the form of a timber structure comprising 18 sections of 14-cm square that follow the original perimeter of the stone wall. Like scaffolding, it structurally stabilizes the pre-existing construction, recovers the original volume and restores its function in the territory as a lookout and defense point.
The new structure resolves the functional reinforcement conditions and establishes a dialogue with the pre-existing stone wall, evidencing the intervention with respect to the original construction. The missing foundation is recovered with lime concrete and the two structures are tied using wooden profiles anchored to the stone canvas at 14 points.
The insertion of a stairway inside the structure provides access to the three original levels of circulation and facilitates future maintenance of the monument. The ascent to the upper level of the tower recovers a point of view that had been inaccessible since the fifteenth century.
Finally, the stones found in the archaeological excavation are reused to delimit the intervention and show the original demolition material.
#Spain , #landscape , #wall , #lighting , #open_air, #demolition , #pedestrian , #public_space , #church , #lighting , #landmark
@revitalization
The interior of the tower was significantly altered in recent years. The projects objective was to remove all the additions, close newly made openings and remove the plaster coating that hid the original fabric. The original interior staircase, which was partially demolished, is rebuilt based on the typology found in similar towers.
The floor was covered with late twenty century tiles that were taken out: a new floating wood floor is placed instead, detached from the original walls.
After removing the plaster coating on the walls, the original brick fabric emerged.
The use of colour and materials in the interior intend to create a warm, welcoming feeling in contrast with the hash, introverted nature of the building’s exterior.
This simple yet emphatic intervention is intended to show the strength of an ageless construction, made by anonymous builders with simple materials, as well as to emphasize the provisional, light, degradable nature of the contemporary.
#Spain , #landscape , #tower , #open_air, #public_space , #landmark , #extension , #corten , #archeology
@revitalization
The floor was covered with late twenty century tiles that were taken out: a new floating wood floor is placed instead, detached from the original walls.
After removing the plaster coating on the walls, the original brick fabric emerged.
The use of colour and materials in the interior intend to create a warm, welcoming feeling in contrast with the hash, introverted nature of the building’s exterior.
This simple yet emphatic intervention is intended to show the strength of an ageless construction, made by anonymous builders with simple materials, as well as to emphasize the provisional, light, degradable nature of the contemporary.
#Spain , #landscape , #tower , #open_air, #public_space , #landmark , #extension , #corten , #archeology
@revitalization
The large semi-circular arch created is closed by a sliding door with two leaves, each 9.20m high and 1.80 wide, located on the inside of the wall. The door is made of 2mm perforated V-shaped sheet steel without internal profiling and hung from a top profile that helps consolidate the existing arch. The result is a light and continuous veil through which images and sounds of the water are filtered, allowing urban continuity between the fountain and the outer street, both day and night when it is closed for control. The fountain reproduces the plant and approaches the idea of a water container, but this time identifying content and container. It is built by 19mm azure glass walls stacked and fixed using transparent resin materials.
From the entrance, the image is reduced to a horizontal plane of glass and water, the limits of which are lost where the perception of the mud walls and stone retaining walls begins. Its height allows a flooded space to be perceived from the outside. Between the sheet of water and the perimeter walls, the glass floor becomes first a staircase and then a staircase, slowly leading us to the opposite end. There, once below the sheet of water (reference to the original level), we discover a space next to a cistern. A large air bubble used as an interpretive space, where the three main flows that distribute the water appear. Here at the end of this short and intense tour begins the history of the Raudal de la Magdalena.
Assessment
After so many operational alterations and modifications made in the last ten centuries, we inherited a palimpsest of difficult reading that had lost its physical relationship with the citizen, its public function, until its permanent closure. This fact places the architecture project in an interesting field of discussion: the need to expand the concept of public space. For this it is necessary to review the conceptual limits between contemporary public space, hydraulic infrastructure, public source and cultural equipment.
Likewise, it has been necessary to rethink the concept of recovery itself and ask ourselves how to integrate this last stratum from the present time, the need to recover the essential value of the place, putting in value the found remains. The project interprets each rest offering the same validity to all the strata found, validity that is based on the ability of each piece to explain the events that have built it over the centuries. In this sense, the project establishes a unitary assessment of history as a unique process.
In this sense, the materiality of water has lent us its associated value, both symbolic and conceptual, protagonist of urban development. The stone, commissioned for centuries to contain the land and preserve the space that water needs to be offered, has lent us its construction system. Glass, finally, has given us its ability to receive both loans and offer the experience that means immersing yourself in the history of this place.
#Spain, #public_space , #glass , #archeology , #water , #hydraulic_infrastructure , #water_tank , #lighting
@revitalization
From the entrance, the image is reduced to a horizontal plane of glass and water, the limits of which are lost where the perception of the mud walls and stone retaining walls begins. Its height allows a flooded space to be perceived from the outside. Between the sheet of water and the perimeter walls, the glass floor becomes first a staircase and then a staircase, slowly leading us to the opposite end. There, once below the sheet of water (reference to the original level), we discover a space next to a cistern. A large air bubble used as an interpretive space, where the three main flows that distribute the water appear. Here at the end of this short and intense tour begins the history of the Raudal de la Magdalena.
Assessment
After so many operational alterations and modifications made in the last ten centuries, we inherited a palimpsest of difficult reading that had lost its physical relationship with the citizen, its public function, until its permanent closure. This fact places the architecture project in an interesting field of discussion: the need to expand the concept of public space. For this it is necessary to review the conceptual limits between contemporary public space, hydraulic infrastructure, public source and cultural equipment.
Likewise, it has been necessary to rethink the concept of recovery itself and ask ourselves how to integrate this last stratum from the present time, the need to recover the essential value of the place, putting in value the found remains. The project interprets each rest offering the same validity to all the strata found, validity that is based on the ability of each piece to explain the events that have built it over the centuries. In this sense, the project establishes a unitary assessment of history as a unique process.
In this sense, the materiality of water has lent us its associated value, both symbolic and conceptual, protagonist of urban development. The stone, commissioned for centuries to contain the land and preserve the space that water needs to be offered, has lent us its construction system. Glass, finally, has given us its ability to receive both loans and offer the experience that means immersing yourself in the history of this place.
#Spain, #public_space , #glass , #archeology , #water , #hydraulic_infrastructure , #water_tank , #lighting
@revitalization
NO.134
Castillo De La Luz Museum / Nieto Sobejano Arquitectos
MUSEUM
•
LAS PALMAS DE GRAN CANARIA, SPAIN
Architects: Nieto Sobejano Arquitectos
Year: 2013
Client: Ministry of Public Works of Spain
Property: Municipality of Las Palmas de Gran Canaria
Project Architect: Pedro Quero, Alexandra Sobral
Collaborators: Carlos Ballesteros, lago Blanco, Mauro Herrero, Juan Carlos Redondo
Site Management: Nieto Sobejano Arquitectos, S.L.P., Fuensanta Nieto – Enrique Sobejano, Miguel Mesas Izquierdo, José Mena, Edward Lynch, Aparejadores
Structures: N.B.35, S.L.
Facilities: Aguilera Ingenieros, S.A.
Models: Nieto Sobejano Arquitectos, S.L.P.
Project Date: 2000 (1st Phase) , 2006 (2nd Phase)
Construction: 2003-2004 (1st Phase), 2006-2013 (2nd Phase)
Construction Company: Dragados, S.A. (1st Phase), Trycsa_Técnicas de la Restauración y Construcciones, S.A. (2nd Phase)
Prize: Mention Prize Arquitectura Española 2015. CSCAE
The first governor of the Canary Islands ordered the construction of a tower at the end of the fifteenth century, and when it was extended a few years later, the space located between the tower and the new perimeter walls was filled with earth to increase the building’s strength and resistance. That purely defensive need would become the structuring argument of our architectural proposal for the Castillo de La Luz. Located in La Isleta, the isthmus at which the Castilian ships protecting the city arrived, it concealed those primitive walls originally beaten by the sea. The passage of time affected not only its initial use and preservation, but also the conditions of its closest environment: the old coastal fortress that was wrapped by the water during high tide became gradually surrounded by the structures of the port and the growing city of Las Palmas. After being involved in battles at the end of the sixteenth century -in which the city was plundered, burnt, and rebuilt- the fortress retained its military role but gradually declined, reaching the twentieth century in a state of ruin. In the 1960s, however, it was partially reconstructed to become an exhibition gallery.
When undertaking the project to build in the historic castle, which was to be transformed into a new exhibition space equipped with the installations appropriate to a contemporary museum, we decided to begin with a close reading of the circumstances of its past. If, for five centuries, the space between the outer walls and the original tower had remained hidden, filled with earth, our task essentially consisted in emptying it and recovering the view of the primitive fortress, transformed now into the protagonist of the new museum. Where once there was only hardpan, a space up to now concealed from view, a void emerged, covered with a white concrete slab that is separated from the stone walls of the old tower to let natural light pass through narrow skylights. On the exterior, a recently built, fake perimeter pit has been dismantled to free up a vast surface of the terrain on the original, ground level of the fortress, revealing its full dimensions. A new, partially buried pavilion adds complementary spaces for the museum: access, shop, restrooms, storage, and multipurpose hall. A thin horizontal platform that barely emerges from the terrain will be the only visible trace of an intervention that aims at going unnoticed adjacent to the building it serves and complements.
Any contemporary intervention in historical heritage generates a difficult relationship. On occasions like this one it becomes the expression of a direct and clear response to the apparently insignificant circumstances, which simply demanded one fundamental action. Rather than rebuilding or renovating the Castillo de La Luz (“castle of light”), we merely emptied it, revealing its concealed past, now transformed into a space filled with light -as if paying tribute to its name- by means of an architecture that displays itself and its own history.
#Spain, #museum , #interior_design , #tower , #castle , #corten , #prize , #lighting , #park , #landmark
@revitalization
Castillo De La Luz Museum / Nieto Sobejano Arquitectos
MUSEUM
•
LAS PALMAS DE GRAN CANARIA, SPAIN
Architects: Nieto Sobejano Arquitectos
Year: 2013
Client: Ministry of Public Works of Spain
Property: Municipality of Las Palmas de Gran Canaria
Project Architect: Pedro Quero, Alexandra Sobral
Collaborators: Carlos Ballesteros, lago Blanco, Mauro Herrero, Juan Carlos Redondo
Site Management: Nieto Sobejano Arquitectos, S.L.P., Fuensanta Nieto – Enrique Sobejano, Miguel Mesas Izquierdo, José Mena, Edward Lynch, Aparejadores
Structures: N.B.35, S.L.
Facilities: Aguilera Ingenieros, S.A.
Models: Nieto Sobejano Arquitectos, S.L.P.
Project Date: 2000 (1st Phase) , 2006 (2nd Phase)
Construction: 2003-2004 (1st Phase), 2006-2013 (2nd Phase)
Construction Company: Dragados, S.A. (1st Phase), Trycsa_Técnicas de la Restauración y Construcciones, S.A. (2nd Phase)
Prize: Mention Prize Arquitectura Española 2015. CSCAE
The first governor of the Canary Islands ordered the construction of a tower at the end of the fifteenth century, and when it was extended a few years later, the space located between the tower and the new perimeter walls was filled with earth to increase the building’s strength and resistance. That purely defensive need would become the structuring argument of our architectural proposal for the Castillo de La Luz. Located in La Isleta, the isthmus at which the Castilian ships protecting the city arrived, it concealed those primitive walls originally beaten by the sea. The passage of time affected not only its initial use and preservation, but also the conditions of its closest environment: the old coastal fortress that was wrapped by the water during high tide became gradually surrounded by the structures of the port and the growing city of Las Palmas. After being involved in battles at the end of the sixteenth century -in which the city was plundered, burnt, and rebuilt- the fortress retained its military role but gradually declined, reaching the twentieth century in a state of ruin. In the 1960s, however, it was partially reconstructed to become an exhibition gallery.
When undertaking the project to build in the historic castle, which was to be transformed into a new exhibition space equipped with the installations appropriate to a contemporary museum, we decided to begin with a close reading of the circumstances of its past. If, for five centuries, the space between the outer walls and the original tower had remained hidden, filled with earth, our task essentially consisted in emptying it and recovering the view of the primitive fortress, transformed now into the protagonist of the new museum. Where once there was only hardpan, a space up to now concealed from view, a void emerged, covered with a white concrete slab that is separated from the stone walls of the old tower to let natural light pass through narrow skylights. On the exterior, a recently built, fake perimeter pit has been dismantled to free up a vast surface of the terrain on the original, ground level of the fortress, revealing its full dimensions. A new, partially buried pavilion adds complementary spaces for the museum: access, shop, restrooms, storage, and multipurpose hall. A thin horizontal platform that barely emerges from the terrain will be the only visible trace of an intervention that aims at going unnoticed adjacent to the building it serves and complements.
Any contemporary intervention in historical heritage generates a difficult relationship. On occasions like this one it becomes the expression of a direct and clear response to the apparently insignificant circumstances, which simply demanded one fundamental action. Rather than rebuilding or renovating the Castillo de La Luz (“castle of light”), we merely emptied it, revealing its concealed past, now transformed into a space filled with light -as if paying tribute to its name- by means of an architecture that displays itself and its own history.
#Spain, #museum , #interior_design , #tower , #castle , #corten , #prize , #lighting , #park , #landmark
@revitalization
NO.138
Convento de San Andrés Restoration / Sánchez Gil Arquitectos
RESTORATION
•
SALAMANCA, SPAIN
• Architects: Sánchez Gil Arquitectos
• Area: 1025 m²
• Year: 2018
• Manufacturers: AutoDesk, Cantera Sanchón, Ladrillo Pacheco Horcajo-Medianero, TEJAS BORJA
• Lead Architects: Emilio Sánchez Gil, Fernando Sánchez Cuadrado, Emilio Sánchez Cuadrado
• Client: Ayuntamiento de Salamanca
• Collaborators: Francisco Rodríguez Nieto, José Francisco González Hernández, Mª José Hernán-dez Gómez
• Supervision And Direction: Carmen del Olmo, Luis San Matías (DEO), María Tío (DEO), Carlos Macarro (arqueología)
• Construction Company: Arquepec
Text description provided by the architects. The convent of San Andrés was one of the most praised buildings in Salamanca until its destruction in the mid-19th century. Only small service units attached to the main construction have survived to this day, consisting of a trade house with sheds and a notable ice pit, built during the 18th century. Given the general deterioration and the wish to incorporate the existing remains into the city's tourist offer, the project is drafted, with the aim of integrating the various existing disconnected elements into an orderly, logical and attractive route: the ice pit, a section of the wall, the sheds, the rest of the northeast tower of the convent and access to the underground galleries. Ceramic materials were chosen to be used as a conductive thread, in the form of tiles, bricks in floorings and lattices and roof tiles, as this is the pre-existing material that has been preserved in some areas, endowed with great expressive value and reflecting a long tradition.
The walls and vaults of the ice pit have been restored, illuminated by the overhead light, while the original access has been signposted by a brick latticework, which allows the entrance of dim diffuse light, and minimizes the impact of the adjacent modern building. When clearing the storage space, the rock-cut gallery that was made to house the drainage duct appeared blinded on the lower level. It was incorporated into the project to allow access all the way to the endpoint of the space at the end of the route, notably enriching the visit. In the “office” building, the recovery of the historical volume was prioritised. Although the original masonry walls have completely disappeared, the mimetic reproduction of the tall body was seen as meaningless. For this reason, the space is delimited by means of a neutral brick latticework that defines the layout while creating subtle light and shadow effects, being protected with a tile cover similar to the original, also manifested on the rear facade using similar materials.
The original levels have been recovered on the ground floor of the sheds. Fragments of the original brick paving appeared and served as a template for the rest of the flooring. From this space and through the foundations corresponding to the northeast tower of the convent, a silent space punctuated with the presence of a solitary cypress, one enters the cellar that leads to the underground galleries that were filled with rubble and completely flooded. The ceramic material, in its different manifestations and uses, such as stairs, floorings, walls, roofs, water collectors, exposed ceilings, garden curbs, benches, etc. is the common thread of the present proposal.
#Spain, #convent, #restoration, #lighying
@revitalization
Convento de San Andrés Restoration / Sánchez Gil Arquitectos
RESTORATION
•
SALAMANCA, SPAIN
• Architects: Sánchez Gil Arquitectos
• Area: 1025 m²
• Year: 2018
• Manufacturers: AutoDesk, Cantera Sanchón, Ladrillo Pacheco Horcajo-Medianero, TEJAS BORJA
• Lead Architects: Emilio Sánchez Gil, Fernando Sánchez Cuadrado, Emilio Sánchez Cuadrado
• Client: Ayuntamiento de Salamanca
• Collaborators: Francisco Rodríguez Nieto, José Francisco González Hernández, Mª José Hernán-dez Gómez
• Supervision And Direction: Carmen del Olmo, Luis San Matías (DEO), María Tío (DEO), Carlos Macarro (arqueología)
• Construction Company: Arquepec
Text description provided by the architects. The convent of San Andrés was one of the most praised buildings in Salamanca until its destruction in the mid-19th century. Only small service units attached to the main construction have survived to this day, consisting of a trade house with sheds and a notable ice pit, built during the 18th century. Given the general deterioration and the wish to incorporate the existing remains into the city's tourist offer, the project is drafted, with the aim of integrating the various existing disconnected elements into an orderly, logical and attractive route: the ice pit, a section of the wall, the sheds, the rest of the northeast tower of the convent and access to the underground galleries. Ceramic materials were chosen to be used as a conductive thread, in the form of tiles, bricks in floorings and lattices and roof tiles, as this is the pre-existing material that has been preserved in some areas, endowed with great expressive value and reflecting a long tradition.
The walls and vaults of the ice pit have been restored, illuminated by the overhead light, while the original access has been signposted by a brick latticework, which allows the entrance of dim diffuse light, and minimizes the impact of the adjacent modern building. When clearing the storage space, the rock-cut gallery that was made to house the drainage duct appeared blinded on the lower level. It was incorporated into the project to allow access all the way to the endpoint of the space at the end of the route, notably enriching the visit. In the “office” building, the recovery of the historical volume was prioritised. Although the original masonry walls have completely disappeared, the mimetic reproduction of the tall body was seen as meaningless. For this reason, the space is delimited by means of a neutral brick latticework that defines the layout while creating subtle light and shadow effects, being protected with a tile cover similar to the original, also manifested on the rear facade using similar materials.
The original levels have been recovered on the ground floor of the sheds. Fragments of the original brick paving appeared and served as a template for the rest of the flooring. From this space and through the foundations corresponding to the northeast tower of the convent, a silent space punctuated with the presence of a solitary cypress, one enters the cellar that leads to the underground galleries that were filled with rubble and completely flooded. The ceramic material, in its different manifestations and uses, such as stairs, floorings, walls, roofs, water collectors, exposed ceilings, garden curbs, benches, etc. is the common thread of the present proposal.
#Spain, #convent, #restoration, #lighying
@revitalization
This volume gives the character that the archaeological park demands, an absolute re-spect for the ancient work and a contemporary architecture that accompanies it to make it better. The result is a happy hybridization, A modern architecture justified by the ancient remains and at the same time some remains that grow in a brave and optimistic way with the architecture of the present.
Again, memory and contemporary cultural context.
#Spain , #protection , #ruin , #museum , #archeological_site , #lighting , #archeological_park
@revitalization
Again, memory and contemporary cultural context.
#Spain , #protection , #ruin , #museum , #archeological_site , #lighting , #archeological_park
@revitalization
The house has been built around two main spaces in double and triple-height, visually con-nected to each other in all their diagonals and in constant relationship with the outside. Inside them the program associated with the day is developed, such as eating, cooking, meeting, working, playing, socializing, relaxing, etc. The bedrooms are located in the integrated volume placed in the west zone, in a more private area. Finally, in the adjacent volume on the north-east, an additional bedroom has been situated, which is independent of the main house.
To connect the vertical spaces, the original stairs have been conserved, with steps formed by large stones that offload their weight onto the ground. As an antagonist, a new metal sheet staircase has been designed that seems to levitate on the wooden floor.
The old stable has thus become a house that is experienced as a natural topography. A cave inhabited by little savages in an unconventional way. As in the forest, in nature, on Mount Pin-do, one has to move to look at the ground, and upwards, alert, with caution. A sustainable house like village houses, without technological impostures.
“These days I am building a house in a village, the land of my ancestors, in the Celtic Olympus [1]. In fact, it is a rehabilitation of a small animal stable made of large, well-arranged, granite ashlars. Almost like occupying a cave. I will use only 7 cm thick Oregon pine planks to solve the floor slabs. You may wonder why from Oregon and not from my country. That’s a fight be-tween me and the moths. The moths suffer more from the stomach with a wood that is not na-tive and that, at least, is winning the first battle.
The slabs have to bridge a distance of 5.20 meters between supports. The loose planks with-out gluing or tongue will solve everything with the help of simple truck straps.
The carpenter who sold me the wood says that it won’t work, the structural engineer, an infalli-ble guy, has serious doubts, and I do nothing but appeal to common sense or, what is the same, remember that evasive phrase: «But if God works by traction»… We will soon know if, as old Oteiza wrote, «there is a God to the northwest» [2], or maybe not.” – Arturo Franco
[1] It refers to Mount Pindo in the municipality of Carnota in A Coruña.
[2] OTEIZA, Jorge: Existe dios al noroeste, Navarra: Pamiela, 1990.
“Now the old stable has become a house that is experienced as a natural topography. A cave inhabited by little savages in an unconventional way. As in the forest, in nature, on Mount Pin-do, one has to move looking at the ground, and upwards, alert, with caution. A sustainable house like village houses, without technological impostures. 70 / 80 cm stone walls, a triple ventilated roof made of fibre cement and wood, and a new window open to the west, to squeeze the afternoon sun, so needed in this land with no sun.”- Arturo Franco
#Spain, #house, #structure, #interior_design, #wood, #stone, #stable, #farmhouse
@revitalization
To connect the vertical spaces, the original stairs have been conserved, with steps formed by large stones that offload their weight onto the ground. As an antagonist, a new metal sheet staircase has been designed that seems to levitate on the wooden floor.
The old stable has thus become a house that is experienced as a natural topography. A cave inhabited by little savages in an unconventional way. As in the forest, in nature, on Mount Pin-do, one has to move to look at the ground, and upwards, alert, with caution. A sustainable house like village houses, without technological impostures.
“These days I am building a house in a village, the land of my ancestors, in the Celtic Olympus [1]. In fact, it is a rehabilitation of a small animal stable made of large, well-arranged, granite ashlars. Almost like occupying a cave. I will use only 7 cm thick Oregon pine planks to solve the floor slabs. You may wonder why from Oregon and not from my country. That’s a fight be-tween me and the moths. The moths suffer more from the stomach with a wood that is not na-tive and that, at least, is winning the first battle.
The slabs have to bridge a distance of 5.20 meters between supports. The loose planks with-out gluing or tongue will solve everything with the help of simple truck straps.
The carpenter who sold me the wood says that it won’t work, the structural engineer, an infalli-ble guy, has serious doubts, and I do nothing but appeal to common sense or, what is the same, remember that evasive phrase: «But if God works by traction»… We will soon know if, as old Oteiza wrote, «there is a God to the northwest» [2], or maybe not.” – Arturo Franco
[1] It refers to Mount Pindo in the municipality of Carnota in A Coruña.
[2] OTEIZA, Jorge: Existe dios al noroeste, Navarra: Pamiela, 1990.
“Now the old stable has become a house that is experienced as a natural topography. A cave inhabited by little savages in an unconventional way. As in the forest, in nature, on Mount Pin-do, one has to move looking at the ground, and upwards, alert, with caution. A sustainable house like village houses, without technological impostures. 70 / 80 cm stone walls, a triple ventilated roof made of fibre cement and wood, and a new window open to the west, to squeeze the afternoon sun, so needed in this land with no sun.”- Arturo Franco
#Spain, #house, #structure, #interior_design, #wood, #stone, #stable, #farmhouse
@revitalization
For the consolidation of the walls and the formalization of the stairs, lime concrete is used in masse to achieve the chromatic and material similarity with the existing one, and reinforced with fibers, to achieve the structural stability required for use. public of the building.
#Spain, #castle, #structure, #tower, #archeology, #ruin , #stair , #lighting
@revitalization
#Spain, #castle, #structure, #tower, #archeology, #ruin , #stair , #lighting
@revitalization
NO.172
Santa Eulàlia Space / Carles Enrich Studio
CHURCHES, RENOVATION, CULTURAL CENTER
•
SPAIN, Gironella
• Architects: Carles Enrich Studio
• Collaborators: BBG (structure), SJ12 enginyers (installations), Brufau Cusó (quality control)
• Area: 210 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Roca, Samsung
• Contractors: Vesta
• Client: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona), Gironella Town Council, Consell Comarcal del Berguedà
Adaptation of a former church as a centre for the performing arts.
The former church of Santa Eulàlia in Gironella dates back to the mid-fourteenth century and throughout its six centuries of history it has undergone innumerable changes of use. In 1971, Gironella Council recovered the building in a precarious state of conservation when it was transferred from the previous owner who was unable to guarantee its maintenance. In 2016, due to the poor condition of the building and the lack of services and facilities, it was neces-sary to reformulate the space to carry out cultural activities related to the performing arts, es-pecially dance, music and poetry. This intervention was part of a program to recover existing buildings promoted by Gironella Council.
First, the space of the central aisle was recovered to extend the useful space available and the closed chapels are used for storage. Secondly, a service nucleus was inserted into one of the chapels to guarantee accessibility. Finally an intervention in the facade, reinforcing the metal structure and replacing the translucent facing by transparent glass that expands the field of vision, provides natural light all day, incorporates the street as a second façade and offers views of the church from the outside. The permeability of this facing highlights the public na-ture of Santa Eulàlia as an extension of the urban landscape.
#Spain, #church, #interior_design, #cultural_center, #glass
@revitalization
Santa Eulàlia Space / Carles Enrich Studio
CHURCHES, RENOVATION, CULTURAL CENTER
•
SPAIN, Gironella
• Architects: Carles Enrich Studio
• Collaborators: BBG (structure), SJ12 enginyers (installations), Brufau Cusó (quality control)
• Area: 210 m²
• Year: 2020
• Manufacturers: AutoDesk, Adobe, Roca, Samsung
• Contractors: Vesta
• Client: Servei de Patrimoni Arquitectònic Local (Diputació de Barcelona), Gironella Town Council, Consell Comarcal del Berguedà
Adaptation of a former church as a centre for the performing arts.
The former church of Santa Eulàlia in Gironella dates back to the mid-fourteenth century and throughout its six centuries of history it has undergone innumerable changes of use. In 1971, Gironella Council recovered the building in a precarious state of conservation when it was transferred from the previous owner who was unable to guarantee its maintenance. In 2016, due to the poor condition of the building and the lack of services and facilities, it was neces-sary to reformulate the space to carry out cultural activities related to the performing arts, es-pecially dance, music and poetry. This intervention was part of a program to recover existing buildings promoted by Gironella Council.
First, the space of the central aisle was recovered to extend the useful space available and the closed chapels are used for storage. Secondly, a service nucleus was inserted into one of the chapels to guarantee accessibility. Finally an intervention in the facade, reinforcing the metal structure and replacing the translucent facing by transparent glass that expands the field of vision, provides natural light all day, incorporates the street as a second façade and offers views of the church from the outside. The permeability of this facing highlights the public na-ture of Santa Eulàlia as an extension of the urban landscape.
#Spain, #church, #interior_design, #cultural_center, #glass
@revitalization
NO.173
Ca'n Terra House / ENSAMBLE STUDIO
• Country: Spain
• Area: 1000 m²
• Year: 2020
• Architects: ENSAMBLE STUDIO
• Manufacturers: AutoDesk, DANCOVER, Faro, PENTACERO HIERROS, PIEDRA MARES
• Lead Architects: Antón García-Abril, Debora Mesa Molina
• Design Team: Javier Cuesta, Borja Soriano, Alvaro Catalan, Massimo Loia, Marco Antrodic-chia, Sebastián Zapata, Arianna Sebastiani, Ekam Sahni, Yu-Ting Li, Joel Kim, Gonzalo Pe-ña, Barbara Doroszuk, Yvonne Asiimwe, Mónica Acosta
• Developer:Ensamble Studio
• Engineer: Urculo engineering (m/e/p)
• Waterproof Reinforced Plastic: Dancover
• Lighting: efectoLED
• Photovoltaic System: AutoSolar
Literally meaning ‘house of the earth’ in Catalan, Ca’n Terra embodies a place that, like the earth from where it is built, continually shapes and transforms in form and function.
Originally a quarry that was used as an ammunitions dump during the Spanish Civil War, the Menorca structure was reimagined by architects Antón García-Abril and Débora Mesa of Ensamble Studio as an ode to the Earth’s continually transforming space, and our role in it.
The relationship between people and the environment is evident in the balance between the natural and the livable. While retaining most of the original cavernous aesthetic, plumbing and solar-powered struc-tures are discreetly hidden among the rock walls, and skylights are strategically carved into the ceiling to allow proper natural illumination. Aside from the hammock and the metal frame, the home looks like a space that begs to be formed and molded — very much the architects’ intent.
“Our goal is to touch the space very gently, to add the necessary elements to make it inhabitable and therefore preserve it and give it new meaning and new life,” Mesa says. “It’s a project that found us. It’s something we came across; we found meaning in it, and once we saw it, it was probably the architect in us who just couldn’t ignore it.”
#Spain, #cavern, #house, #minimalism, #interior_design, #glass, #lighting
@revitalization
Ca'n Terra House / ENSAMBLE STUDIO
• Country: Spain
• Area: 1000 m²
• Year: 2020
• Architects: ENSAMBLE STUDIO
• Manufacturers: AutoDesk, DANCOVER, Faro, PENTACERO HIERROS, PIEDRA MARES
• Lead Architects: Antón García-Abril, Debora Mesa Molina
• Design Team: Javier Cuesta, Borja Soriano, Alvaro Catalan, Massimo Loia, Marco Antrodic-chia, Sebastián Zapata, Arianna Sebastiani, Ekam Sahni, Yu-Ting Li, Joel Kim, Gonzalo Pe-ña, Barbara Doroszuk, Yvonne Asiimwe, Mónica Acosta
• Developer:Ensamble Studio
• Engineer: Urculo engineering (m/e/p)
• Waterproof Reinforced Plastic: Dancover
• Lighting: efectoLED
• Photovoltaic System: AutoSolar
Literally meaning ‘house of the earth’ in Catalan, Ca’n Terra embodies a place that, like the earth from where it is built, continually shapes and transforms in form and function.
Originally a quarry that was used as an ammunitions dump during the Spanish Civil War, the Menorca structure was reimagined by architects Antón García-Abril and Débora Mesa of Ensamble Studio as an ode to the Earth’s continually transforming space, and our role in it.
The relationship between people and the environment is evident in the balance between the natural and the livable. While retaining most of the original cavernous aesthetic, plumbing and solar-powered struc-tures are discreetly hidden among the rock walls, and skylights are strategically carved into the ceiling to allow proper natural illumination. Aside from the hammock and the metal frame, the home looks like a space that begs to be formed and molded — very much the architects’ intent.
“Our goal is to touch the space very gently, to add the necessary elements to make it inhabitable and therefore preserve it and give it new meaning and new life,” Mesa says. “It’s a project that found us. It’s something we came across; we found meaning in it, and once we saw it, it was probably the architect in us who just couldn’t ignore it.”
#Spain, #cavern, #house, #minimalism, #interior_design, #glass, #lighting
@revitalization