The main contradiction that needed to be cleared was between modern and historical architecture’s relationship to ornament and decoration. The densely decorated interior of the cathedral stands in direct contrast with the modernist aesthetics, which got rid of any decoration and finds beauty in clearly visible structures and in the material itself. Although contemporary architecture does not stick rigidly to these century-old principles, applied decoration of the past is still alien to it. The main advantage of the current changes is that they did not ignore decoration entirely, but rather keep them under control: the additions in the liturgical space all fit into the context, show, however, a gentle shift towards a sleeker style – they bring a bit of relief into the thickness of the space. In case of the new furniture, the ornament is integrated into the material.
In other spaces, like in the crypt an inverse solution comes into effect: the formerly abandoned spaces were given a new quality. The heavy pillars received unified white plastering and rhythmical illumination, the alteration of light and shadow gives contemporary aesthetics to the old space.
These solutions shape the spaces in an organic way toward the needs articulated in the present – the refurbishment did not dissolve the building into fragments, but rather managed to develop it continually, adding meaning and functions relevant to contemporary users.

#restoration , #renovation , #conservation , #redevelop
#lighting , #interior , #addition , #refurbishment , #Cathedral

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NO.49.

Tourist Access Adaptation to the Domes of The Cathedral of Malaga / Marina Uno Arquitectos

•Architects: Marina Uno Arquitectos
•Location: Calle Molina Lario, 9, 29015 Malaga, Spain
•Architect in Charge: Gabriel Ruiz Cabrero, Juan Manuel Snchez La Chica, Adolfo de la Torre Prieto
•Area: 247.0 m2
•Project Year: 2014
•Photographs: Imagen Subliminal, Lluis Casals
•Techincal Architect: Pablo Cassesnoves Campodarve


The result of the building process in which Malaga’s cathedral has been immersed in since 1524 is that even though it possesses a notable architectural unity, it is lacking a clearly defined style. Over these—practically—five hundred years, there have been periods of considerable advance in its construction, like the 16th century, during which the fortress-like apse was built with airs of the Renaissance, and the 18th century, in which the choir nave and the main facade were materialized with the looks of a Baroque palace. The cathedral’s governing body insistence on maintaining the unity of the temple, made the 18th century architects realize a project that, even though it belongs to its day, is laid out upon previously built parts.
Towards the end of the 18th century, due to a lack of funds, all work was stopped. Two sacristies, the southern tower and the roofs were never built.
The unfinished situation of Malaga’s cathedral, with its lack of a roof covering which leaves the outer surfaces of the vaults visible from the outside, has generated a space that is a kind of elevated plaza above the city. This space is situated forty meters above the ground floor and offers visitors a three hundred and sixty degree perspective above the city. With the goal of making it easier to reach this space, the current project is carried out to improve of certain itineraries, including the adaptation of the ascent to this privileged place, upgrading security and lighting conditions, in accordance to the activity that is to take place.
But the design is not merely a way of making this privileged space accessible, it also becomes a true promenade architecturale, an artistic itinerary. The tour provides an ascent through stairways of diverse geometries and extraordinary masonry work, strolls on the terraces over the chapels and views to the interior of the temple from above. Multiple romos covered by stone vaults mark the ascent, serving as resting spaces along the itinerary as well as possible exhibition areas.
The itinerary through these spaces and the contemplation of the views from the upper levels of the cathedral’s vaults not only allows to grasp the entire building and its historical evolution, but it also helps to understand the city that has grown at its feet.

Basically, the intervention has three parts: a system of railings that avert the risk of falling has been placed; a series of platforms and stairs to overcome the existing drops have been built to generate contemplation and resting spaces, and a lighting system has been installed that allows night tours.
In contrast with the overwhelming presence of masonry work, we have used materials such as wood and metal for this installation. Even though they have a degree of presence within the space, they can be disassembled. Each and every one of the elements added by this intervention has been anchored into the joints of the masonry work so that, if deemed necessary, everything can be removed without leaving a trace.

#Spain , #Access , #Adaptation , #roof , #restoration , #cathedral , #church ,#lighting , #interior_design , #interior_architecture , #stair , #landscape
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The Studio
The team’s studio is located in the factory silos over four floors connected by a spiral staircase.
Reflecting the company’s culture, the highly functional floor layout encourages team work and provides a perfect environment for individual concentration and creativity.
Ricardo Bofill’s office on the first floor is a minimalist space with 4 meters ceiling height and pristine white walls and carpet.
Furnished with RBTA designs, except for the vintage wicker Thonet chairs, the workspace is a bright and spacious open floor plan flooded with natural light and a view looking into the gardens.
The underground galleries contain the model workshop and the archive rooms.
The doors, windows and decorative elements are clear references to a cultured, historical architecture, in contrast to what might be described as the industrial vernacular of the original factory.

La Catedral
As part of the creative renewal and adaptative reuse of the cement plant, the factory hall was transformed into a conference and exhibition room, generous in size with floor to ceiling heights of 10 meters.
With slightly oxidized surfaces, the raw concrete walls preserve the industrial aesthetics and spatial quality, the memory of the structure’s former use.
The minimal architecture intervention in La Catedral is aesthetically striking and visually strong, with very few pieces designed by Taller Design: a wood and steel conference table, black leather sofa, chairs and armchairs, a steel and glass coffee table and a smaller meeting table under the huge hoppers.

The Gardens
Once the spaces had been defined, cleaned of cement, it was necessary to provide a green plinth to the remaining volumes; plants would climb walls and hang from the roofs.
The site, largely covered with grass, is bordered by groups of eucalyptus, palms, olive and prune tree, mimosas, and climbing plants that wrap the exposed concrete walls, giving the building this mysterious aspect of romantic ruin that makes it unique and unrepeatable.

The Residence
Cosmopolitan by definition, Ricardo Bofill returns always to the factory, that old industrial building that he never ceases to renew for the past forty years, enlarging and embellishing its spaces as writing the history of his life, a biography in constant evolution.
“The factory is a magic place which strange atmosphere is difficult to be perceived by a profane eye. I like the life to be perfectly programmed here, ritualised, in total contrast with my turbulent nomad life”
In the upper part of the factory Ricardo Bofill transformed a huge volume of brute cement into the main living room. It is a perfect cube with a sequence of arc windows whose regular rhythm evokes the metaphysical perspectives of De Chirico.
“Domestic, monumental, brutalist and conceptual”, that’s how Ricardo Bofill defines this room of enormous dimensions.
The kitchen-dining room located in the ground floor is the meeting point for the family. In the middle of the room, a white marble rectangular table supported on ironwork legs surrounded with Thonet chairs, seat and backrest with wickerwork. Two-sided fireplaces designed by the architect Oscar Tusquets, add warmth, charm, and ambience to the room.
With traditional Moroccan wall finish, the “pink” room on the middle floor of the house provides a smaller and more private living area. Designed by the studio, the generous rectangular dining table was made of one single piece of Alicante red marble. Same material was used for the coffee table in front of the black leather sofa. The chairs and stools are re-editions of Antonio Gaudi’s designs. A large fireplace dominates the room.
#Spain, #Adaptation , #silo , #Structural_Consolidation #Structural_Consolidation , #cathedral , #Apartments , #lighting , #interior_design , #stair , #landscape , #Offices , #studios #Restoration #Structural_Consolidation

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#Australia, #Cathedral , #extention , #stair , #interior_design , #lighting , #public_space , #school

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