Direct economic impact of Barcelona's Network of Municipal Markets
Conducted with the specific aim of finding out the volume of economic activity and of analysing expenditure in municipal markets, it puts the markets' turnover at between 950 million and 1.1 billion.
To achieve the specific objectives, the following aspects were taken into account: economic indicators (turnover volume, number of employees, evolution of turnover and employees), characteristics of the establishments (product category, surface area, possession regime) and the profile of the operators/traders (socio-economic, length of time with establishment in the market and name of establishments) as well as an analysis of the receipts and profile of consumers.
In relation to the operator profile, the study provides information on aspects such as the average age of traders, the age of the establishments and any reforms that have been carried out; where they come from, the future prospects of the business, customer volume and average monthly sales.
With regard to customer expenditure, it includes information on monthly expenditure on food, loyalty to particular stalls on the market, how often customers shop and their average expenditure, among others.
Conclusions
The conclusions, which show that Barcelona's municipal markets have a turnover of between 950 million and 1.1 billion euros, also highlight the fact that Barcelona markets' market share with regard to fresh food produce is between 30% and 35%.
Other aspects highlighted in the conclusions include the fact that Saturdays are the day with the highest average number of customers, that the most widely purchased products on the market are fish (78%) and meat (74%) and that 60% of market customers shop at the supermarket found in the market (in cases where there is a supermarket) while 40% also shop at the shops around the market.
#Spain , #market , #city_centre , #historical_centre , #archeology, #landmark , #historic_site , #ruin , #convent , #economic_impact , #roof , #remodelling
@revitalization
Conducted with the specific aim of finding out the volume of economic activity and of analysing expenditure in municipal markets, it puts the markets' turnover at between 950 million and 1.1 billion.
To achieve the specific objectives, the following aspects were taken into account: economic indicators (turnover volume, number of employees, evolution of turnover and employees), characteristics of the establishments (product category, surface area, possession regime) and the profile of the operators/traders (socio-economic, length of time with establishment in the market and name of establishments) as well as an analysis of the receipts and profile of consumers.
In relation to the operator profile, the study provides information on aspects such as the average age of traders, the age of the establishments and any reforms that have been carried out; where they come from, the future prospects of the business, customer volume and average monthly sales.
With regard to customer expenditure, it includes information on monthly expenditure on food, loyalty to particular stalls on the market, how often customers shop and their average expenditure, among others.
Conclusions
The conclusions, which show that Barcelona's municipal markets have a turnover of between 950 million and 1.1 billion euros, also highlight the fact that Barcelona markets' market share with regard to fresh food produce is between 30% and 35%.
Other aspects highlighted in the conclusions include the fact that Saturdays are the day with the highest average number of customers, that the most widely purchased products on the market are fish (78%) and meat (74%) and that 60% of market customers shop at the supermarket found in the market (in cases where there is a supermarket) while 40% also shop at the shops around the market.
#Spain , #market , #city_centre , #historical_centre , #archeology, #landmark , #historic_site , #ruin , #convent , #economic_impact , #roof , #remodelling
@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
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
NO.181
Convent Saint François / Amelia Tavella Architectes
MONASTERY, RESTORATION, EXTENSION
•
• Architects: Amelia Tavella Architectes
• Area: 1000 m²
• Year: 2021
• Manufacturers: Schuco, Terre Cuite des Launes
• Lead Architect: Amelia Tavella
• Acoustic Consulting: Acoustique & Conseil
• Structural Engineer: ISB
• Historic Building Advisor: A-C Perrot
• Economist: Ingenia
• Fluids Engineers: G2I
• City: Sainte-Lucie-de-Tallano
• Country: France
• Awards: TECU ARCHITECTURE AWARD 2022
An intervention of rehabilitation and extension leads to a reflection on the theme of conservation in a process of metamorphosis that embraces the ruin and returns it to contemporaneity.
The complex, perched in the wild Corsican landscape amidst rocks, woods, olive groves and small villages, appears as a fortress in which the passage of time and inactivity have allowed nature to freely take possession of the building, almost acting, before its resurrection, as a protective “armour” and structural support, like the roots of a fig tree that have become an integral part of the façade.
Here, the architect chose to conserve the ruins and replace the missing part of the volume with a perforated copper structure that re-proposes the sil-houette of the pre-existing building, while declaring the contemporary char-acter of the ex-novo building as the site of a cultural center (“Maison du Territoire”).
The choice of copper was justified by the material’s durability and ability to transform over time from a tactile and chromatic point of view, allowing the composition to narrate an evolving tale beyond any intent of “crystallizing” history.
The walls of the copper building, perforated with small panels that allow light to filter into the interior corridors, evoke the suggestion of a mashrabiyya – the traditional grid used in the architecture of Arab coun-tries to facilitate natural ventilation and control lighting – or of the stained-glass window of a church, with vibrant plays of light and shadow projected onto the interior stone walls.
A work that, tiptoeing in the footsteps of the past, exudes love for the place and its historical memory, for the building and its natural transformation from what it was into what it will be and into what it will one day no longer be, in the intimate conviction of impermanence as the only possible form of reality.
#France, #Corsica, #monastery, #convent, #ruin, #extention, #restoration, #rehabilitation, #moucharabieh, #mashrabiyya #copper, #cultural_center, #awards
@revitalization
Convent Saint François / Amelia Tavella Architectes
MONASTERY, RESTORATION, EXTENSION
•
• Architects: Amelia Tavella Architectes
• Area: 1000 m²
• Year: 2021
• Manufacturers: Schuco, Terre Cuite des Launes
• Lead Architect: Amelia Tavella
• Acoustic Consulting: Acoustique & Conseil
• Structural Engineer: ISB
• Historic Building Advisor: A-C Perrot
• Economist: Ingenia
• Fluids Engineers: G2I
• City: Sainte-Lucie-de-Tallano
• Country: France
• Awards: TECU ARCHITECTURE AWARD 2022
An intervention of rehabilitation and extension leads to a reflection on the theme of conservation in a process of metamorphosis that embraces the ruin and returns it to contemporaneity.
The complex, perched in the wild Corsican landscape amidst rocks, woods, olive groves and small villages, appears as a fortress in which the passage of time and inactivity have allowed nature to freely take possession of the building, almost acting, before its resurrection, as a protective “armour” and structural support, like the roots of a fig tree that have become an integral part of the façade.
Here, the architect chose to conserve the ruins and replace the missing part of the volume with a perforated copper structure that re-proposes the sil-houette of the pre-existing building, while declaring the contemporary char-acter of the ex-novo building as the site of a cultural center (“Maison du Territoire”).
The choice of copper was justified by the material’s durability and ability to transform over time from a tactile and chromatic point of view, allowing the composition to narrate an evolving tale beyond any intent of “crystallizing” history.
The walls of the copper building, perforated with small panels that allow light to filter into the interior corridors, evoke the suggestion of a mashrabiyya – the traditional grid used in the architecture of Arab coun-tries to facilitate natural ventilation and control lighting – or of the stained-glass window of a church, with vibrant plays of light and shadow projected onto the interior stone walls.
A work that, tiptoeing in the footsteps of the past, exudes love for the place and its historical memory, for the building and its natural transformation from what it was into what it will be and into what it will one day no longer be, in the intimate conviction of impermanence as the only possible form of reality.
#France, #Corsica, #monastery, #convent, #ruin, #extention, #restoration, #rehabilitation, #moucharabieh, #mashrabiyya #copper, #cultural_center, #awards
@revitalization