NO.28.
Memory Garden in Vinaròs, Spain, 2015
•Architects: Camilla Mileto, Fernando Vegas
•Location: Carrer de Sant Francesc & Carrer de l'Hospital, 12500 Vinaròs, Castelló, Spain
•Project Year: 2015
•Photography: Vicente A. Jiménez
•Manufacturers: Inmar Stone Group
•Promotor: Ayuntamiento de Vinaroz
•Architects: Camilla Mileto, Fernando Vegas
•Installations: Antonio Vte. Martí Guillamón, ingeniero
•Lighting: Elías Hurtado Pérez, ingeniero
•Stucture: Adolfo Alonso Durá, arquitecto
•Budget Control: Salvador Tomás Márquez, arquitecto técnico
•Garden Advisory: Marta Edo Albalate
•Contributors: M. Soledad García Sáez, Lidia García Soriano, F. Javier Gómez Patrocinio, Isabel Segovia Campos
•Project Direction: Camilla Mileto y Fernando Vegas, arquitectos (UPV)Universitat Politècnica de Valencia
•Director of Execution: Salvador Tomás Márquez, arquitecto técnico
•Project Collaborators: M. Soledad García Sáez, Lidia García Soriano, F. Javier Gómez Patrocinio
•Archeology: Noema Restauradores S.L.
•Archeology Study: Pablo Rodríguez Navarro (UPV)
•Restorer: Noema Restauradores S.L.
•Constuction: Construcciones Rafael Zarzoso S.L.
•Garden: U.T.E. Jardines
In 2001 the church and convent of San Francisco, in the Castellón town of Vinaroz were demolished and only part of the north outer wall and the indoor flooring were left standing. Following this unfortunate event, what had been the site of the church and convent was asphalted and used as a parking space, and over the years the remains of the outer wall and flooring greatly deteriorated due to natural causes and vandalism.
The garden of San Francisco was born from the archaeological remains of the original 17th-century convent and designed to evoke the historic memory of the building, as well as that of the gardens and orchards surrounding it, aiming to restore dignity to the site and transform it into a place for meeting, relaxation and amusement, recovering a living space for the community.
The traces of the former walls of the convent were discovered when the new asphalt was broken up and have been built up to form garden seats using the original building ashlars, stones, tiles and roof tiles found during the excavation. The aim of this operation was to evoke the original convent by incorporating the archaeological remains, rather than adding to the municipal landfill where these remains and their unique background would be amalgamated with many others to finally become environmental waste. The surviving church wall has been carefully restored using remains and imprints of renderings, paintings, joinery, etc., as well as the remains of adjoining houses which had enabled the wall to survive until the present day.
The area inside the convent and church was paved with local stone, allowing the different spaces to be clearly distinguished. While the pavement in the church area is closely spaced and follows the bays of the original building, the convent area features spaces for vegetation to grow between the pavement slabs, perfectly integrated into the garden as a whole. The remains of the masonry walls and pebble paving of the convent found on the ground interact with the vegetation of the garden, blending into it.
The square still preserves many underground crypts and archaeological remains which have been respected for the future following the necessary cleaning. In addition to recovering and restoring the traces of the convent and church, the original access from calle San Francisco through the fence which surrounds the whole area has also been recovered, and new accesses to the surrounding square have also been incorporated.
In addition, the surviving vegetation, palm trees and a cypress, have been preserved and used as the basis for the new vegetation in the garden areas.
#restoration , #preservation , #archeolgical_site , #park
#lighting , #landscape , #urban_design
https://telegram.me/revitalization
Memory Garden in Vinaròs, Spain, 2015
•Architects: Camilla Mileto, Fernando Vegas
•Location: Carrer de Sant Francesc & Carrer de l'Hospital, 12500 Vinaròs, Castelló, Spain
•Project Year: 2015
•Photography: Vicente A. Jiménez
•Manufacturers: Inmar Stone Group
•Promotor: Ayuntamiento de Vinaroz
•Architects: Camilla Mileto, Fernando Vegas
•Installations: Antonio Vte. Martí Guillamón, ingeniero
•Lighting: Elías Hurtado Pérez, ingeniero
•Stucture: Adolfo Alonso Durá, arquitecto
•Budget Control: Salvador Tomás Márquez, arquitecto técnico
•Garden Advisory: Marta Edo Albalate
•Contributors: M. Soledad García Sáez, Lidia García Soriano, F. Javier Gómez Patrocinio, Isabel Segovia Campos
•Project Direction: Camilla Mileto y Fernando Vegas, arquitectos (UPV)Universitat Politècnica de Valencia
•Director of Execution: Salvador Tomás Márquez, arquitecto técnico
•Project Collaborators: M. Soledad García Sáez, Lidia García Soriano, F. Javier Gómez Patrocinio
•Archeology: Noema Restauradores S.L.
•Archeology Study: Pablo Rodríguez Navarro (UPV)
•Restorer: Noema Restauradores S.L.
•Constuction: Construcciones Rafael Zarzoso S.L.
•Garden: U.T.E. Jardines
In 2001 the church and convent of San Francisco, in the Castellón town of Vinaroz were demolished and only part of the north outer wall and the indoor flooring were left standing. Following this unfortunate event, what had been the site of the church and convent was asphalted and used as a parking space, and over the years the remains of the outer wall and flooring greatly deteriorated due to natural causes and vandalism.
The garden of San Francisco was born from the archaeological remains of the original 17th-century convent and designed to evoke the historic memory of the building, as well as that of the gardens and orchards surrounding it, aiming to restore dignity to the site and transform it into a place for meeting, relaxation and amusement, recovering a living space for the community.
The traces of the former walls of the convent were discovered when the new asphalt was broken up and have been built up to form garden seats using the original building ashlars, stones, tiles and roof tiles found during the excavation. The aim of this operation was to evoke the original convent by incorporating the archaeological remains, rather than adding to the municipal landfill where these remains and their unique background would be amalgamated with many others to finally become environmental waste. The surviving church wall has been carefully restored using remains and imprints of renderings, paintings, joinery, etc., as well as the remains of adjoining houses which had enabled the wall to survive until the present day.
The area inside the convent and church was paved with local stone, allowing the different spaces to be clearly distinguished. While the pavement in the church area is closely spaced and follows the bays of the original building, the convent area features spaces for vegetation to grow between the pavement slabs, perfectly integrated into the garden as a whole. The remains of the masonry walls and pebble paving of the convent found on the ground interact with the vegetation of the garden, blending into it.
The square still preserves many underground crypts and archaeological remains which have been respected for the future following the necessary cleaning. In addition to recovering and restoring the traces of the convent and church, the original access from calle San Francisco through the fence which surrounds the whole area has also been recovered, and new accesses to the surrounding square have also been incorporated.
In addition, the surviving vegetation, palm trees and a cypress, have been preserved and used as the basis for the new vegetation in the garden areas.
#restoration , #preservation , #archeolgical_site , #park
#lighting , #landscape , #urban_design
https://telegram.me/revitalization
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ارتباط با ادمین ها
@M_Anisi
@At_Mehr
@Z_Danyari
Carriage House
The carriage house underwent a complex development. The archive and transformer station were located here. Both existing operations are removed on the ground floor and replaced thanks to the location of the carriage house by the function of a café. The second floor is used for the office of the administrator of the chateau complex. The subsequently placed partitions and the modern staircase were removed throughout the building. New masses were set into the space modified in this way in the places where the carriages had once stood. These new elements are the necessary social facilities of the café, bar and seating and are made of translucent laminate. The big question was the exterior appearance of the carriage house, which was regrettably modified in the 1970s, when the ground floor of the building was raised by a floor and again during the actual implementation by ca 70 cm. Mainly, the presentation of the ledge deformed the material solution of the entire building. Therefore, there was a correction of the ledge by the removal of the beams, thanks to which the overall height of the carriage house was slightly reduced. With regard to the exterior facade, the decorative ledges have been removed, which are not proved in any of the original drawings or photographic documentation. The outer appearance of the carriage house should blend in with other buildings with which it had formed a complete configuration in the past, so the outer facade was covered with a light lime stucco.
Children’s Pavilion
An important element is the seasonal building of the summer pavilion, which provides a natural base for children’s activities. This object is a summer pavilion - a tent made up of triangular segments of a lightweight steel construction, where the panelling forms a translucent canvas. The tent is inspired by a child’s dragon that has dragged into the chateau gardens and separated the farm buildings from the English Park. The summer pavilion with a children’s program uses the natural connection to the café located in the carriage house and thus allows also seating. The object is divided into three parts, and mainly thanks to the choice of different activities for the differently aged children from the youngest with access only with the parents to the oldest, where more demanding activities are expected for the greater autonomy of children.
English Park
Part of the overall modifications was also the resolution of the English park, where the main emphasis is placed on the element of water. Since there were water elements in the park in the past, we tried to restore them. The water element naturally starts at the highest point where the chateau pond is preserved. The water management route starts from the greatest distance between the trees and is designed using computer technology with Voronoi geometry. The route of the water element ends in a grotto, which we restored according to the original documentation. The route of the water element is completed in a grotto, which we have restored according to the original documentation. The English Park was disturbed by a large monumental stage from the 1950s, which we have removed and replaced by a mobile alternative, which enables the stage to be built from mobile parts. Within the resolution of the entire park, several small elements were further designed, such as an aviary for peacocks, which is based on the shape of a bushel on which peasants can sit. Another small element is benches representing a kind of crystal, inspired by the chateau sgraffito.
Material Used :
1. Translucent laminate
2. Steel
#Czech_Republic , #castle , #UNESCO , #world_heritage_convention , #park ,
#landscape , #interior_design , #multifunction , #school , #children
@revitalization
The carriage house underwent a complex development. The archive and transformer station were located here. Both existing operations are removed on the ground floor and replaced thanks to the location of the carriage house by the function of a café. The second floor is used for the office of the administrator of the chateau complex. The subsequently placed partitions and the modern staircase were removed throughout the building. New masses were set into the space modified in this way in the places where the carriages had once stood. These new elements are the necessary social facilities of the café, bar and seating and are made of translucent laminate. The big question was the exterior appearance of the carriage house, which was regrettably modified in the 1970s, when the ground floor of the building was raised by a floor and again during the actual implementation by ca 70 cm. Mainly, the presentation of the ledge deformed the material solution of the entire building. Therefore, there was a correction of the ledge by the removal of the beams, thanks to which the overall height of the carriage house was slightly reduced. With regard to the exterior facade, the decorative ledges have been removed, which are not proved in any of the original drawings or photographic documentation. The outer appearance of the carriage house should blend in with other buildings with which it had formed a complete configuration in the past, so the outer facade was covered with a light lime stucco.
Children’s Pavilion
An important element is the seasonal building of the summer pavilion, which provides a natural base for children’s activities. This object is a summer pavilion - a tent made up of triangular segments of a lightweight steel construction, where the panelling forms a translucent canvas. The tent is inspired by a child’s dragon that has dragged into the chateau gardens and separated the farm buildings from the English Park. The summer pavilion with a children’s program uses the natural connection to the café located in the carriage house and thus allows also seating. The object is divided into three parts, and mainly thanks to the choice of different activities for the differently aged children from the youngest with access only with the parents to the oldest, where more demanding activities are expected for the greater autonomy of children.
English Park
Part of the overall modifications was also the resolution of the English park, where the main emphasis is placed on the element of water. Since there were water elements in the park in the past, we tried to restore them. The water element naturally starts at the highest point where the chateau pond is preserved. The water management route starts from the greatest distance between the trees and is designed using computer technology with Voronoi geometry. The route of the water element ends in a grotto, which we restored according to the original documentation. The route of the water element is completed in a grotto, which we have restored according to the original documentation. The English Park was disturbed by a large monumental stage from the 1950s, which we have removed and replaced by a mobile alternative, which enables the stage to be built from mobile parts. Within the resolution of the entire park, several small elements were further designed, such as an aviary for peacocks, which is based on the shape of a bushel on which peasants can sit. Another small element is benches representing a kind of crystal, inspired by the chateau sgraffito.
Material Used :
1. Translucent laminate
2. Steel
#Czech_Republic , #castle , #UNESCO , #world_heritage_convention , #park ,
#landscape , #interior_design , #multifunction , #school , #children
@revitalization
—————————
3S Studio has designed an "urban" walk without distorting the identity of an area which, for a strange paradox, has been maintained by being in a state of semi-abandonment for 40 years. The general objectives of the design , relating to the general themes were:
Give continuity to pedestrian paths
Increase the usability of the coastal stretch
Intervention reversibility
Low environmental impact materials
Increase in public green spaces and requalification of existing ones
Compatible tourism development "
————————————-
The cost per square meter (true evaluation parameter of public space projects) was very limited in the face of the complex interventions (including structural and concerning works at sea) subject to constraint, of the great final environmental quality.
All this is the result of the design strategies that have always privileged the real change of the boundary conditions, the activation of virtuous circles and the overall vision.
The materials usually used, simple but "safe", are the confirmation of how much the complexity / articulation of the spaces and the real usability of the new structures have been preferred over the decoration and richness of the finishes. They have thus obtainedimportant results in terms of:
extension of the project area
achievement of initially unforeseen results - effects on economic and tourist activities - environmental requalification
creation of new routes (such as that of the tunnel, previously inaccessible).
#Italy , #railway, #interior_design , #landscape ,#corten , #park , #tunnel , #lighting
@revitalization
3S Studio has designed an "urban" walk without distorting the identity of an area which, for a strange paradox, has been maintained by being in a state of semi-abandonment for 40 years. The general objectives of the design , relating to the general themes were:
Give continuity to pedestrian paths
Increase the usability of the coastal stretch
Intervention reversibility
Low environmental impact materials
Increase in public green spaces and requalification of existing ones
Compatible tourism development "
————————————-
The cost per square meter (true evaluation parameter of public space projects) was very limited in the face of the complex interventions (including structural and concerning works at sea) subject to constraint, of the great final environmental quality.
All this is the result of the design strategies that have always privileged the real change of the boundary conditions, the activation of virtuous circles and the overall vision.
The materials usually used, simple but "safe", are the confirmation of how much the complexity / articulation of the spaces and the real usability of the new structures have been preferred over the decoration and richness of the finishes. They have thus obtainedimportant results in terms of:
extension of the project area
achievement of initially unforeseen results - effects on economic and tourist activities - environmental requalification
creation of new routes (such as that of the tunnel, previously inaccessible).
#Italy , #railway, #interior_design , #landscape ,#corten , #park , #tunnel , #lighting
@revitalization
NO.128
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
--------------
Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@revitalization
Museum Park of The the Polytechnic Museum / Wowhaus
MOSCOW, RUSSIA
• Architects: Wowhaus
• Area: 14000.0 m²
• Design phase: 2015 – 2016
• Construction phase: 2017 – 2019
• Design Team: Mikhail Kozlov (senior project architect), Maria Khokhlova, Anastasia Rychkova, Anton Sevastyanov, Igor Yakovlev, Marina Yarmarkina, Denis Manshilin, Alyona Zaitseva, Margarita Leonova
• Clients: OAO MNIITEP, Polytechnic Museum Development Fund
• Landscape: Nature form studio
• Lightning: Ultimatum Group
Objective:
Following the concept by Junya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares
Solution:
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
--------------
Text description provided by the architects. In the contemporary city, the museum long since ceased to be simply a place for storing exhibits, school trips and the “cultural leisure” of adults on their days off. It should be a full-fledged participant in urban life, able to compete on equal terms with parks, cinemas and restaurants. Museum Park is a pedestrian zone and public space that helps draw city dwellers into the Polytechnic Museum.
Following the concept by Jun’ya Ishigami the territory around the Polytechnic Museum was to be transformed into a Museum Park – a thoroughly designed public space, whose structure takes into account the needs of the Museum and its visitors, as well as intensive transport and pedestrian flows, and the requirements of the city authorities concerning streets and town squares.
A park-amphitheatre in front of the Museum - an open-air foyer that will become an extension of the spaces inside the building and will act as a prologue, while the inner space is under construction. It will be able to host events while uniting the new pedestrian zone in the building’s lower ground level with the outdoor area alongside Lubyanka Square, attracting pedestrians and providing them with a convenient and pleasant route into the Museum complex.
#Russia , #museum, #landscape , #extention , #lighting , #open_air , #park , #amphitheatre , #pedestrian , #public_space
@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