Theoretical Background

In Kevin Lynch's seminal work, The Image of the City , he explores the concept of urban legibility, emphasising the significance of creating a coherent and comprehensible built environment for a city's inhabitants1. Lynch identifies five key elements - paths, edges, districts, nodes, and landmarks - that contribute to the legibility of an urban landscape. This notion of legibility is highly pertinent to the crafting of the new garden and further design, as it necessitates careful consideration of these elements in the design process to ensure seamless integration into Ávila's urban fabric. Consequently, the project will enhance the overall experience for both residents and visitors.

Michel Foucault's influential essay, “Of Other Spaces,” introduces the concept of heterotopias, which provides a framework for understanding the complex and layered nature of spatial experiences². Heterotopias are spaces that embody both physical and mental realms, such as gardens or exhibition areas. This concept is relevant to the Ávila project, as it allows for the exploration of otherness and dislocation, inspiring innovative design solutions that challenge traditional notions of space. By incorporating heterotopic spaces into the El Nuevo Palacio de Ávila, the project creates a unique and meaningful architectural intervention that resonates with the local community.

Peter Zumthor's Atmospheres: Architectural Environments, Surrounding Objects emphasizes the importance of creating spaces that evoke emotional and sensory experiences for users³. Zumthor highlights factors such as materials, lighting, and spatial arrangement that contribute to the atmosphere of a space. Applying Zumthor's focus on architectural atmospheres to the Ávila project is crucial, as it helps create an engaging and immersive environment within the garden, gate and future design. This attention to atmospheres ensures that the project addresses the functional needs of the community while fostering a deep sense of connection and belonging for those who interact with the space.

2.2 Gates in the Garden

Design Synopsis

Nestled within the historic urban fabric of Ávila, this architectural project takes inspiration from the procession routes of Santa Teresa, embracing the concept of "legibility" as a guiding principle for urban design. Drawing from Lynch's ideas, the project aims to create a cityscape where elements are easily recognizable and organized into a coherent pattern¹. The design also considers Foucault's idea of heterotopias, which refers to spaces that possess both physical and mental qualities, exemplified by instances such as a phone call or a reflection in a mirror². Moreover, the architectural intervention is influenced by Zumthor's emphasis on atmospheres, recognizing that they are perceived rapidly through our emotional sensibility³.

The thesis presents a multifaceted interplay of folded objects, guided by the architectural components within Ávila's urban landscape. An intricate tapestry of limestone, timber, and steel intertwines to establish an architectural intervention that both respects the city's historical context and enriches the urban experience.

The design of the Gates functions as a spatial threshold to a defined Garden. Though individually conceived, the Gates form part of a larger urban assemblage connected to the shared Garden, exhibiting detailed craftsmanship and environmental performance. In Plaza de la Santa, the Gates transform into an extended museum space, displaying the reliquaries of Santa Teresa and harnessing the spring water to develop underground gardens that offer cooling and guidance to visitors.

The Gates, in conjunction with the surrounding garden space, metamorphose a simple civic plaza into a dynamic outdoor museum deeply rooted in its historical context. This seamless fusion of urban legibility, heterotopias, and architectural atmospheres cultivates a unique and meaningful architectural experience.