La Lleialtat Santsenca Civic Centre in Barcelona (Spain) | Harquitectes
This project had three starting points: an understanding of the historic value of Lleialtat Santsenca (1928), an old working class cooperative in the Sants district; detailed knowing about the building’s (physical) state in order to maintain as much material as possible; and sensitivity to the collaborative process involved in the building’s recovery, launched in 2009 by neighbourhood organizations.
To this end, four basic objectives were defined: first, to make the most of everything that could be used from the original building; second, to define an operation strategy and the essential actions, either conservationist or additive, which would facilitate the recovery and enhanced the potential use of all the spaces; third, to enter an intense -and tense, if necessary- dialogue with the context; and fourth, to draft a sustainable proposal for work on both the pre-existing material and the new aspects.
LICENSING AND COPYRIGHT ACQUISITION: Search and view in jesusgranada.eu is free and any different use outside here must be authorized. If you are a publisher, journalist, publicist or manufacturer interested in use photos from this project on your magazine, book, company or marketing campaign, you need to acquire copyrights about needed photos. Fill this form to obtain conditions and fees of copyrights.
El Croquis 203 – Harquitectes 2010 – 20 ‘learning to live in a different way’
This book was Commissioned by ‘El Croquis’ publishers.
El Croquis 203 – Harquitectes 2010 – 2020
This monograph is dedicated to the work of Harquitectes between 2010 and 2020. This office was founded by David Lorente, Josep Ricart, Xavier Ros and Roger Tudó in 2000.
20 projects and two essays are presented on this monograph.
Learning to Live in a Different Way. Two Days of Conversations by Cristina Díaz Moreno and Efrén García Grinda.
Wind of Change. A Trip to the Buildings of Harquitectes by Philip Ursprung.
This public facility houses an adult education centre, a language standarisation consortium and a space for organisations on a triangular plot in Barcelona’s Parliament district. Two of the three sides of the site are defined by the heritage-listed Anglesola Street frontage of the former Planell glass factory, built in 1913.
The building makes use of the entire plot and acts as an intrinsic part of the urban landscape, although the triangular shape and the classified façades prevent it from occupying the entire site. The programme is distributed across four levels which are set back from the south-facing heritage facade. The resulting atrium reconciles construction and heritage, improves the natural lighting for the classrooms and provides a heat and sound barrier. This long, narrow courtyard is reproduced at the northern vertex, filling the geometry of the plot and acting as a relational system between the administrative uses of the building and the exterior.
El Croquis 203 – Harquitectes 2010 – 20 ‘learning to live in a different way’
This book was Commissioned by ‘El Croquis’ publishers.
El Croquis 203 – Harquitectes 2010 – 2020
This monograph is dedicated to the work of Harquitectes between 2010 and 2020. This office was founded by David Lorente, Josep Ricart, Xavier Ros and Roger Tudó in 2000.
20 projects and two essays are presented on this monograph.
Learning to Live in a Different Way. Two Days of Conversations by Cristina Díaz Moreno and Efrén García Grinda.
Wind of Change. A Trip to the Buildings of Harquitectes by Philip Ursprung.
LICENSING AND COPYRIGHT ACQUISITION: Search and view in jesusgranada.eu is free and any different use outside here must be authorized. If you are a publisher, journalist, publicist or manufacturer interested in use photos from this project on your magazine, book, company or marketing campaign, you need to acquire copyrights about needed photos. Fill this form to obtain conditions and fees of copyrights.
El Croquis 203 – Harquitectes 2010 – 20 ‘learning to live in a different way’
This book was Commissioned by ‘El Croquis’ publishers.
El Croquis 203 – Harquitectes 2010 – 2020
This monograph is dedicated to the work of Harquitectes between 2010 and 2020. This office was founded by David Lorente, Josep Ricart, Xavier Ros and Roger Tudó in 2000.
20 projects and two essays are presented on this monograph.
Learning to Live in a Different Way. Two Days of Conversations by Cristina Díaz Moreno and Efrén García Grinda.
Wind of Change. A Trip to the Buildings of Harquitectes by Philip Ursprung.
Multipurpose school building in Ghent, Belgium | Xaveer De Geyter, architect
Multipurpose school building in Ghent, Belgium | Xaveer De Geyter, architect
Multipurpose school building in Ghent, Belgium | Xaveer De Geyter, architect
Multipurpose school building in Ghent, Belgium | Xaveer De Geyter, architect
In the harbour area, a narrow stretch of land alongside a dock is freed from port activities. A very simple ‘chopstick’ urban plan is being developed by O.M.A. in which open green pockets alternate with dense construction.
In order to give the linear plan a notion of centrality, a public path is designed to cross the whole strip. The site for the school faces one green area on its south side, the dock on its west side, a square and a housing block to the north and the harbour road to the east.
Acoustics
Daidalos Peutz
Structural engineer
Ney & Partners
Mechanical engineer
Studiebureau Boydens
LICENSING AND COPYRIGHT ACQUISITION: Search and view in jesusgranada.eu is free and any different use outside here must be authorized. If you are a publisher, journalist, publicist or manufacturer interested in use photos from this project on your magazine, book, company or marketing campaign, you need to acquire copyrights about needed photos. Fill this form to obtain conditions and fees of copyrights.
El Croquis 204 – XDGA – Xavier de Geyter
Commissioned by ‘El Croquis’ publishers:
El Croquis 204 – XDGA 2005 – 2020
This monograph is dedicated to the work of Xaveer de Geyter Architects entre 2005 y 2020. This office founded by this Belgian architect in 1991.
20 projects and two essays are presented on this monograph.
Between Pragmatism and Invention. A Conversation with Xaveer de Geyter.
Sarah Whiting
Political Animals. The Architecture of Xaveer De Geyter Architects.
Tower Kitchen in Anderlecht, Belgium | Xaveer de Geyter, architect
Tower Kitchen in Anderlecht, Belgium | Xaveer de Geyter, architect
Tower Kitchen in Anderlecht, Belgium | Xaveer de Geyter, architect
LICENSING AND COPYRIGHT ACQUISITION: Search and view in jesusgranada.eu is free and any different use outside here must be authorized. If you are a publisher, journalist, publicist or manufacturer interested in use photos from this project on your magazine, book, company or marketing campaign, you need to acquire copyrights about needed photos. Fill this form to obtain conditions and fees of copyrights.
This book was Commissioned by ‘El Croquis’ publishers.
El Croquis 204 – XDGA 2005 – 2020
This monograph focuses on the work accomplished by Xaveer De Geyter Architects between 2005 and 2020, office founded by this Belgian architect in 1991.
Xaveer de Geyter (Doornik – Belgium, 1957) graduated at the Architecture Institute St. Lucas in Ghent in 1981. After that, he started working at Rem Koolhaas’ office (OMA) in Rotterdam, until 1991, when he founded his own office.
At the same time, he has been working as a teacher in the school where he obtained his degree. He has also worked as visiting and guest professor at the Berlage Institute, Delft, Netherlands (1993-2003), the EPFL, Lausanne, Switzerland (2004) and the ETH, Zurich, Switzerland (2016).
Nd architects | Utrera (Seville), Spain | October 2019
This project transforms a 1778 house-palace (called Surga House) into a Cultural Center of the 21st century with an extensive program that includes exhibition halls and an auditorium. From the beginning, this pre-existence was understood as a practically urban space that has undergone transformations of all kinds over time. Thus, it was based on a mixture of materiality and space already decontextualized both with its own typology and with the rest of the city.
In this way, material and spatial preexistence was used with a new reading based on relating to the ancient building of the enclosure which was the noble area of the house and better preserved space. The main courtyard is recovered, and the rest of the free spaces, away from the main building, have been exploited with a more open interpretation in order to introduce the necessary pieces that complete the program.
The reminiscent acts as a support for a new intervention that, although it provides a new program, allows it to be interpreted and put into value, adding one more layer (substrate) to the history of the palace-house.
Functionally, the main entrance is carried out by a side Street (c/ Ramón y Cajal) to free the monumental façade and avoid losing exhibition space in the ancient building and to be able to dispose of the rest of the planned rooms an initial space for receiving visitors. This space provides information on both the history and evolution of the house and the different events held at the Cultural Center. From this enclosure, through permeable galleries which maintain eye contact with the inherited spaces of the house, visitors can access the rest of the dependencies (exhibition, auditorium and toilets).
The intervention in the main courtyard is closely related to the original use of the house without becoming a literal reconstruction. This space is still conceived as an element of thermal control of the ancient building, although with a contemporary approach. The gallery width that is raised is much narrower than the original and the supports are extremely slender to allow the expansion of the ground floor space. The shadow strategy, propitiated by a roof of slats under the cover, is complemented by the incorporation of air extractors controlled with temperature probe and by evaporative coolers assisted by photovoltaic panels. The final image evokes lightness and luminosity with very changing aspects in the perception of the roof depending on where you look. The opportunity to go up to the first floor gallery allows visitors to observe the roof from another height and, therefore, have another reading of this one where details and textures are more present. To complete the effect of connecting the new courtyard with the ancient building, all the carpentry have been removed and all the openings have been left open towards this space.
Main Courtyard structure | Surga House in Utrera (Seville), Spain | ND architects
From the main courtyard, the visitor moves towards the most open area of the house and the intervention typologically moves away from it, adapting to the free space where, effectively, there is no previous materiality which can be used. In this way, the volume dedicated to the auditorium is formed as the most significant element of this part of the intervention. It is conceived as a capsule which is built with a network of arches, a tensioned textile membrane cover and cladding of sheet metal panels as vertical cloths. The access is made through a gallery that comes from reception followed by a small lobby which expands the entrance space. This installation is equipped with a dressing room module connected in turn with both reception and the auditorium. Taking into account that its capacity is close to 200 people and that the platform on which it is available is horizontal, a delimitation for a minimum elevation scenario is proposed with the idea of presenting it almost as a television set, where the representation and the public are closed together and connected. The experience of using this space is completed with an actionable side wall that, once uploaded, allows visitors to observe the remains of the oil mill that was in the house and also the use of the enclosure as an outdoor space. At night, this image is enhanced with the use of RGB LED spotlights which are projected on the whitewashed walls.
The whole project has been conceived from the use of simulation tools and optimization of the different physical effects (natural lighting, shading, maximum solar collection, natural ventilation, wind effect, etc.) which contribute to complete the visit experience of the building. All the construction systems that have been used are light, quick assembly and reversible. Passive strategies have been introduced in the design of the conditioning and enough number of photovoltaic panels have been included to make the building practically self-sufficient. It is thus considered as the most convenient and sustainable solution (depending on the minimization of the Life Cycle) to intervene in a protected environment.
Project name: Refurbishment of Surga House for cultural center in Utrera (Sevilla), Spain
Oficina de Arquitectura: Nd_Arquitectos: Juan Carlos Gómez de Cózar y Santiago Bermejo Oroz
Sitio Web: www.ndarquitectos.com
Año finalización construcción: 2019
Superficie construida: 534,37 m2
Ubicación: Av. María Auxiliadora, 10. 41710 Utrera, Sevilla (España)
Arquitectos a Cargo: Juan Carlos Gómez de Cózar y Santiago Bermejo Oroz
Clientes: Ayuntamiento de Utrera www.utrera.org
Consultancy: Manuel Ordóñez Martín, Arquitecto de Instalaciones.
Collaborators: Rosa Benítez Bodes (Environmental simulation, 3d models and delineation) y Rosa Rojano Pérez (3d models, 3d images and delineation).
Models and physical shapes: Juan Carlos Pérez Juidías, Fab-Lab ETSA Sevilla.
Arquitecto Técnico: Javier Dorado García.
Empresa Constructora: Avanza Solutions & Projects SL. José Antonio Vizcaino (Gerente). Isidoro Jiménez (Director de Construcción). Diego Cobos (Jefe de Obra).
To operate upon an existing building and its surroundings full of history, inevitably implies to take a stance on how to understand the intervention upon its historic heritage as well as its environmental impact. The Conference Centre of Cordoba is set deep in the heart of the Jewish quarter, a few steps away from the Mosque-Cathedral.
The Conference Centre of Cordoba, whose origin is the old San Sebastian hospital built by Hernan Ruiz in the XVI century, has implied the search of an strategy that could give a new layer or stratum to a building which has suffered numerous interventions during its long existence (life). Therefore it needed a light invasive action with isolated interventions which would enable the elimination of the adding parts, highlighting hidden elements, creating a cozy and welcoming atmosphere and at the same time incorporating the technical needs for an original and flexible congress space, capable of creating a dialogue with its pre-existences.
The complex has a traditional typology based on a sequence of voids which brings together the building. Entering by the old chapel of the Hospital and crossing the mudejar patio, we arrive to the second one which supports the restoring and renovation work of the different spaces.
The aforementioned patio, plastered in white and covered by light ribs which outline the sky, constitutes the new hall or entry to the main room of the Conference Centre, creating a new neutral waiting space of transition.
Closing the spatial sequence or fullness and emptiness, we come across the last big patio which leads to the parapet and gathers (puts together) the vernacular patio tradition, that is, fresh and full of vegetation, so that a wide view of the old Andalusian fortress and its triple arcade can be contemplated.
The meeting room, entirely renewed, has been provided with a new technical floor which houses facilities and enables to make disappear part of the seats of the room. The history and uniqueness of its immediate surroundings can be seen through a large window at the bottom of the dais, which allows for enjoying a fragment of the renovated defense wall, highlighting its importance.
The white, geometrical and rigid sides of the room, made up of a sort of acoustic latticework, contrast with a more expressive, light and wavy ceiling which looks like a sheet housing a big part of the facilities, and which ends up reaching the front side, the floor and the back of the room, only interrupted to lodge the stage lights over the dais.
To satisfy the great variety of uses which asks for this kind of spaces, a big room of great flexibility has been designed, supplying it besides the retractable seats, with a mobile wall that creates a room under the amphitheatre, in addition to a system of seats which moves over rails and remains hidden behind some screens, as well as some systems of darkening of the room that enable a right use of the audiovisual mechanism.
CREDITS
Work: Restoration, improvement and adaptation of the Conference Centre in Cordoba.
Client: Consejería de Empleo, Empresa y Comercio .Junta de Andalucía
Architect: LAP architects. Rafael Pérez Morales, David Pérez Hérranz y Rafael Pérez Herranz
Collaborators: Francisco José Sánchez Caballero (building engineer), Laura Paños Díaz (architect), Ana Gómez Saldaña (building engineer), Antonio Lara Morcillo (architect), Duarte Asociados (structures), JG engineers (facilities), Dinac (acoustics).
ACID consultancy | Plasencia (Cáceres) | November 2019
The residential centre is situated on the North East side of the city of Plasencia, on the border between town and countryside. From this location there is a magnificent view into the distance along the full length of the Jerte Valley. The plot itself is on a 25 metre slope, pointing in the same direction.
The specific characteristics of the land, (topography, climate, light) have been used as the starting point for a user-friendly and accessible design. The adverse topography is turned into an asset. The building itself encompasses the landscape and this permeates through the entire project.
The result is a building in tune with the terrain which transforms the 7.500 m2 built into a series of open and highly attractive spaces for residents. This is the central aim of the project: a cascade of terraced floors which allow the common spaces to be connected through terraces and gardens on the same level, improving the views, the light and the connection with nature.
The rooms have all been designed with the same aim in mind. Each one has a very special view while at the same time being protected from the summer sun.
The principle of adapting the building to the terrain has also shaped the design of the ample grounds. This allows residents to enjoy a series of walks through gardens and common spaces bordering each of the terraces.
The entire construction is based on a series of modular prefabricated elements which simplify and systematise the overall design. The structure itself is composed of architectural textured concrete panels which at the same time form the external shell of the building.
These “massive” components of the construction create a subtle tension: the grooved, rhythmic and homogeneous pattern across the entire surface creates a suggestive play of light and shadow which changes with the season, while at the same time, creating an intense but subtle frontier with the land
The desire to make the most of the environment, and vice versa, has also been fulfilled by using metal materials which absorb and change with the light.
Further elements have been introduced to improve the well being of residents and make it easier for them to orientate themselves in the building, such as the colour schemes used in the rooms and hallways, specially adapted internal and external pathways, spacious adapted bathrooms, and spaces for physiotherapy and hydrotherapy.
LICENSING AND COPYRIGHT ACQUISITION: Search and view in jesusgranada.eu is free and any different use outside here must be authorized. If you are a publisher, journalist, publicist or manufacturer interested in use photos from this project on your magazine, book, company or marketing campaign, you need to acquire copyrights about needed photos. Fill this form to obtain conditions and fees of copyrights.
ARQUITECTOS: ACID Consultoría Técnica
Built surface: 7.365,14 m²
End: Julio de 2019.
Project and direction: Irene Calle Izquierdo y Alfredo Díaz Soto. (arquitectos)
PROYECTO Y D.E.O.: Ángel Calle Riolobos y Mª Ángeles Pérez Fernández. (arquitectos técnicos)
Desing team: Irene Calle Izquierdo, Alfredo Díaz Soto, Paloma Sesma Luengo y Luis Miguel Sánchez García
El Croquis 202 – Bernardo Bader | Fearlessness of the familiar
Klostergasse studio in Bregenz, Vorarlberg, Austria.Chapel Salgenreute in Krumbach, Voralberg, AustriaKindergarten Susi Weigel in Bludenz, Vorarlberg, Austria.Islamic Cemetery in Altach, Austria.
Bernardo Bader architect | Bregenz, Vorarlberg, Austria | September 2019
El Croquis 202 – Bernardo Bader 2009 – 2019 ‘fearlessness of the familiar’ Photo cover by Jesús Granada
Commissioned by ‘El Croquis’ publishers:
El Croquis N. 202 Bernardo Bader 2009-2019
A decade of work by Bernardo Bader is covered in this instalment. In that time, the Austrian architect has steadily built a reputation for his modern take on regional styles. Both the exteriors and interiors of his designs are often clad in wood, with structures framed by clean lines and set in alpine terrains, radiating warmth and comfort. Bader’s outspoken perspective on critical regionalism in architecture has drawn international praise, and he prefers to use locally sourced timber in his work. Presented here are more than fifteen projects, many of them houses, but also kindergartens, an alpine sports centre, an Islamic cemetery, a railway station, a chapel, a hotel, and more.
