Fernández, Alicia// García, Joaquín//Proyectos arquitectónicos 6//Iván Capdevila//January 2015
“!Apoderémonos de lo existente¡” María Langarita
Introduction The urgent need of sustainability in our time ime is leading creative agents to a extreme consciousness of the power of the built architecture as a perfect raw material, a starting point for projects to develope, in order to take advantage of what already exist, with the purpose of avoid a further damage to our environment. This work focuses on two works of the French architects Lacaton & Vassal that center their strategies in that special sensitivity, and develope them further in accordance to other new conditions set in the context of the 4th course seminar for projects, run by Ivan Capdevila at the University of Alicante’s Architecture School.
CONTENTS Hybridations
4
Findings
10
Reductions
12
Models
14
Floor plan comparative
18
Elevation comparative
22
Section comparative
26
Axonometric drawings comparative
30
Conclusions
34
References
35
Phase 5. Hybridations
We like to see buildings like “time machines”. We protect coming from the past, and we try to enable a relationship of t a way that both together satisfy the current needs of the soc building. We enjoy thinking that someone in future will take a do it again. This building will help future’s people to understa way, to wonder how future will be.
etfe layer
EXIT
to the rehearsal chambers
to the music hall
the architectural elements those with new elements in cieties that are around the advantage of our work and and their past, and in some
city viewer
new steel structure laying on existing building
Existing structure
The proposal for F.R.A.C. is the conversion of industrial production space of XXth Century into a mixture of uses based on a public space surronding a music hall. At this stage the project must take over the strategies used by Peter Zumthor at Bregenz Museum and a multiplication system to put together the architectural elements. From the very defined twin building version of L&S’s project in which the existing space remained completely untouched (see following pages), the proposal brings a central auditorium. The public space articulates itself around the music hall: in front of it, under it, above it, and it all its sides. The user relates to the old existing building (old structure, claddings) all through his natural movement when using the building, with forced situations to enhance its hugeness and shapes. The special disposition of architectural elements ensures the proper lighting and sound conditions for the music hall. Moreover, the idea of a public space relating inside content with the outside (landscape, city) is treated successfully.
piano concerto
Phase 5. Hybridations
Transparent walls Light material Glass
Roof floor
Semi-Transparent walls Light material Wood panels
Stage
Opaque walls Heavy material Concrete
Section E: 1/100
Entrance
Floor plan E: 1/100
The proposal for Bois le PrĂŞtre is the conversion of a existing appartment in and old tower into a music hall. At this stage the project must take over the strategies used by Peter Zumthor at the shelter for Roman Ruins and a multiplication system to put together the architectural elements.
Axonometric view E: 1/100
Lacaton & Vassal’s proposal of adding a complementary strucuture to bring new lighting and space configuration possibilities in a horizontal axis (see findings section) is here changed into a vertical distribution of space. We take advantage of Zumthor’s strategy to direct users through a space made of light and shadow to articulate the different uses of the building, that is, the entrance hall (the existing elements), an auditorium and a viewer to the city on the top, with a gradiation of light imput by use of elements to control it.
Phase 1. Findings
Lacaton & Vassal’s FRAC project arises from the idea that the existing yard is a valuable space that should remain untouched. They create a complementary building to articulate project needs. Moreover they establish a special relation between the two spaces and enable the possibility for the museum to take advantage of that hugh space for exhibition, but it can be used for any other public purpose. The building remains a landmark in the surronding landscape, and the initial bugdet serves to create a surface that is exactly two times bigger that the requested one.
Lacaton & Vassal’s Bois le Prêtre intervention focuses in bringing to the existing building complementary space and new lighting conditions in order to provide valuable spaces where living is as pleasant as in the best conditions, but reducing the cost of the project almost 90 % when avoiding demolition of the building. What they do in constrast is adding a self carrying structure.
Phase 2. Reductions
The main strategies of the building can be performed with two architectural elements: The envelope, that is, the efte plastic surface that works as walls, windows, cealing (and the steel structure that supports it), and the slabs to lodge the different uses proposed for tle building.
The main strategies of the building can be performed with two architectural elements: the faรงade, and the floors.
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Models. Frac.
FRAC model in phase 3 follow the idea of bringing continuity to Lacaton & Vassal ideas. One of them is the concept of “landmark to be preserved� and is complemetely related to the shape of the building. The second major issue is the existence of two complementary spaces that are interacting, and generating rich perceptive situations and new spaces. Phase 4 is related to how all the items experimented in phase 3 can mix with a new use: a music hall. Two different alternatives are provided: the first (over this paragraph) takes advantage of the void for the main stage, and the structure coming from previous phases to be supporting audience. The second wants to preserve the void as it is conceived by Lacaton & Vassal, the stage in front of a huge window to the landscape. Pase 4 brings a new public space in the front of the building. Models FRAC
Phase 5 model is directly devoted to the experience of visiting the building. It provides very particular conditions of how movements are around the building, how light gets into the different spaces and how perception changes depending on where the visitor is placed. This comes from Peter Zumthor’s ideas and how atmospheres are so relevant in his different works. The multiplication strategy helps brings the possibility of lighting indirectly rehearsal rooms. Moreover, the top of the music hall is perforated in for the visitors to see what is happening inside, but also for a special lighting effect.
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Models.
Bois le Prêtre model in phase 3 looks for the multiplication of the situations in which inside and outside interact in a house. What can be seen as conventional, generates many different possible compositions, and that implies a successfull place (the one that can be adapted to different requierements). The model for the phase 4 brings the music hall into a very reduced space. It solves all the requierements for services in the groundfloor, and place the auditorium in front of the façade. In someway we dream, and we think Lacaton & Vassal, too, that performance could be listened from outside, and pedestrian could also see it.
Models BOIS LE PRETRE
When bringing Peter Zumthor’s strategies to the last model the building changes completely. Lacaton & Vassal’s buildings try continuously to enable a free movement through the building, in some way erasing the line between the public and the private space. On the other hand Zumthor wants the user to experience atmospheres in a very precise way. Movements are completely directed, and natural lighting controlled to the limit. The degree of complexity of the spaces created in this model is higher.
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Floorplans.
Floorplans PHASE 3, 4, 5. FRAC. S: 1/200
Phases 3 & 4 follow the same pattern (two connected areas: the existing and the new).
Phase 5, however, brings a central space that reduces the floor plan of the existing building, but providing the user with a series of vertical views of the building.
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Floorplans.
Floorplans PHASE 3, 4 and 5. Bois le PrĂŞtre S: 1/200
The evolution of the differents plants from PHASE 3 to PHASE 5 varies because private use, housing block, becomes a totally public use, Concert Hall. Besides, the elements are organized in a new way. Above all changes in a linear condition to a more circular one. The level of complexity of spaces is determined not only by their dimensions and shape, but also by the lighting conditions. fundamental strategies for Zumthor’s Shelter for Roman Ruins.
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Elevations.
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Elevations.
Elevations PHASE 3, 4 and 5. Bois le PrĂŞtre. S: 1/200
The elevations do not differ one from other. They seem to have a quite horizontal composition. There are important changes however between the two first phases and the last one. In phase 5, although there is a vertical gradiation in terms of opacity. Horizontal elements are blinds to control the lights, while the structure has a important vertical component.
Sections PHASE 3, 4 and 5. FRAC. S: 1/200
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Sections.
Sections PHASE 3, 4 and 5 S: 1/200
In sections we still have that big difference between the existing building and the added. The massive, or light and transparent. The importance of light is changing all the time in this project, but generally a horizonta direction changes to a vertical direction. Existing elements of both, transparent and semi-transparent, and the new, opaque panels that direct direct light are used.
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Axonometric drawings.
Axonometric drawings PHASE 3, 4 and 5. FRAC. S: 1/200
Phase 3, 4, 5. Homogenizations, displacements and hybridations. Axonometric drawings.
Axonometric drawings. Phase 3,4,5. Bois le PrĂŞtre. S: 1/200.
Conclusion In both of the cases studied in this work, a second chance is provided for a building to keep giving service to a specific comunity or a family. Its capability to continue doing that is related to many factors such as materials durability. But appropiation capability is one of the most important ones. It is no use to have a building in a perfect condition, but that cannot satisfy its user’s needs. Which will the future’s users needs? We notice that the L&V’s proposals bring the necesary flexibility in spaces in order to fulfill that appropriation. We will keep reflecting on these matters.
References Drawings: Atelier Bow Wow Layout: Design media publishing for instance: www.issuu.com/kevinchoy/docs/big