S e c o n d Chances ! Th ink i ng

of the past to build the

future

Fernández, Alicia//García,Joaquínproyectos arquitectónicos 6//Iván CapdevilaDecember 2014//Alicante

!

EXIT

Phase 5. Hybridations. Frac

We like to see buildings like “time machines”. We protect the architectural elements coming from the past, and we try to enable a relationship of those with new elements in a way that both together satisfy the current needs of the societies that are around the building. We enjoy thinking that someone in future will take advantage of our work and do it again. This building will help future’s people to understand their past, and in some way, to wonder how future will be.

EXIT

Existingstructure

We like to see buildings like “time machines”. We protect the architectural elements coming from the past, and we try to enable a relationship of those with new elements in a way that both together satisfy the current needs of the societies that are around the building. We enjoy thinking that someone in future will take advantage of our work and do it again. This building will help future’s people to understand their past, and in some way, to wonder how future will be.

Phase 5. Hybridations. Frac

The proposal for FRACconversion into a musichall is based in a centralspace that enables a se-ries of peripherical move-ments connecting different public spaces:one created in front of the building, the second in the medium floor and the last one surronding the building’s roof.

Improved lighting and sound conditions are provided by the geometry and position of different vo-lumes. The user is to pass through different spaces, and to discover the cowor-king of two structures (the old yard one and the new efte envelope).

Phase 5. Hybridations. Bois le Pretre

Axonometry sectionE: 1/100

This project brings to the existing conditions of poor lighting, a vertical continuos space in which lighting conditions change in relation to the use of that particular space. From the very dark entrance, inter-mediate spaces are made with very specific lighting conditions for different purposes. The top part of the building is a viewer to the city, but also to the building itself.

Phase 5. Hybridations. Bois le Pretre

Plan sectionE: 1/100

Phase 5. Hybridations. Bois le Pretre

Axonometry E: 1/100

Phase 1. Findings. Frac.

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 pro-ject needs, and link both spaces in a complemen-tary way.

Phase 1. Findings. Bois le Pretre.

Lacaton & Vassal’s Bois le Pretre intervention focuses in bringing to the existing building complementary space and new lighting conditions in order to provi-de valuable spaces where living is as pleasant as in the best conditions, but reducing the cost of the project almost 90 %.

Phase 2. Reductions. Frac.

Phase 2. Reductions. Bois le Pretre.

The existing residential building, Bois le Pretre, in the PHASES 1 and 2 of FINDINGS and RE-DUCTIONS, we discovered the Dominant Archi-tectural Strategies (EAD) and Minimum Archi-tectural Strategies (EAM) of the project.

This EAD and EAM are: Enlarge this space be-coming a multifunctional space, open to the out-side, to life with new opportunities related to both the exterior and the interior. All this by extending the floors and using transparent windows.

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Models. Frac.

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 preser-ved” and is complemetely related to the shape of the building. The se-cond 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 byLacaton & Vassal, the stage in front of a huge window to the landscape.

Both bring a new public space in the front of the building.

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.

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Models. Bois le Pretre.

Models BOIS LE PRETRE

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Floorplans. Frac.

Floorplans PHASE 3, 4 and 5 S: 1/200

Phases 3 & 4 are explained here together as,they follow the same pattern (two connected areas: the existing and the new). Phase 5, however, brings a central space that reducesthe floor plan of the existing building, but pro-viding the user with a series of vertical views of the building.

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Floorplans. Bois le Pretre.

Floorplans PHASE 3, 4 and 5 S: 1/200

The progress or evolution of the differents

plants from PHASE 3 to PHASE 5 varies be-

cause since private use, housing block, has

become a totally public use, Concert Hall.

Not only use also the elements are organi-

zed in a new way. Above all changes in a

linear condition to a more circular.

Now the existing and new elements are

more complex than the beginning because

we have an hybridization with Peter Zumthor

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Elevations. Frac.

The elevationin the differentphases in anyof the faces ofthe building does not changemuch becauseof the preserva-tion purposes ofthe project.

The elevationin the differentphases in anyof the faces ofthe building does not changemuch becauseof the preserva-tion purposes ofthe project.

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Elevations. Bois le Pretre.

Elevations FASE 3, 4 and 5 S: 1/200

In the elevations from PHASE 3 to PHASE

4 maybe not vary too much, because a si-

milar to that of the previous phase structu-

re is kept, but in Phase 5, there is enough

change because of the hybridization with

Peter Zumthor. We have new items but they

work the same way at first. Elevations show

the beauty of the building. The shape of the

building changed a lot, but with more com-

plexity than the first one.

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Sections. FRAC.

Sections PHASE 3, 4 and 5 S: 1/200

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Sections. FRAC.

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Sections. Bois le Pretre.

Sections PHASE 3, 4 and 5 S: 1/200

In sections we still have that big differen-

ce between the existing building and the

added. The massive, or light and transpa-

rent. The importance of light is changing all

the time in this project, but generally a hori-

zonta direction changes to a vertical direc-

tion. 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. Frac.

Axonometric drawings PHASE 3, 4 and 5 S: 1/200

Phase 3, 4, 5. Homogenizations, displacements and hybridations. Axonometric drawings. Bois le Pretre.

Axonometric drawings. Phase 3,4,5.S: 1/200.