Today we present the third and last project from the set of projects sent to us by ARX in June. It's a special pleasure for us to be able to communicate more work from this recognised Portuguese Architecture office, this time through Coimbra Blood Bank project. The project presents a total area of 4.100 sqm and it was developed (competition, project and construction) between 2001 and 2009.
We are open to receive projects from all around the world, regardless of their dimension or typology. Please send us high quality photos (indicating their authors), drawings and descriptive texts in English to our Marketing e-mail - email@example.com. It will be our pleasure to help spreading new Architecture concepts and ideas.
A Regional Blood Centre is essentially a highly complex laboratory building, where the donated blood is separated into its three major components and transformed for medicinal purposes. This being the second Centre we design (the first one was in Porto), it reflects a bigger tranquillity and come to terms with the treatment to be given to the complex technical paraphernalia proper of these buildings. This understanding has brought us, this second chance around, a deeper feeling of freedom.
The land for its implantation is of a beauty that reminds us of landscapes more como in the north of Europe: a thick forest of 147 feet-tall pine trees, only 6 or 9 feet apart from each other. Inside the dense woods a world of shade rules over the sky, which is seen only briefly, piercing the green "canvas" made by the tree-tops. Although there are some urbanized areas relatively near by, there is a strong feeling of isolation, like we had crossed somewhere a sort of filter. This land is located on the wavy line atop of a hill, suddenly falling down a very inclined slope.
In this place, any building seems to be excessive. It is a disruption in the balance of this landscape.
The concept of the building clearly reflects a will to stand up to that "displaced", odd and unexpected character. It is a big grey volume, completely wrapped in zinc, whose only connection to the place seems to be a reaction to the wavy properties of the ground, tracing along with its form the undulation of the topography.
The entrances, as well as all the openings, windows and skylights, are like ridges or furrows that highlight the resulting tension of the folded volume: on the convex side they project out; on the concavous side they are the same plan of the building's body. In both cases, they reveal the inside, warm and bright.
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