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"The project of the Musical Studies Centre in Santiago
de Compostela is located in the Vista Alegre plot of land, one of the most
relevant green areas in the surroundings of the old quarter of Santiago. Described
as a university park,
the Vista Alegre plot of land hosts a group of buildings link to activities
related to academic and research practices. Here it’s possible to find the
House of Europe, the Advanced Studies Centre, the IDEGA (a university research
centre) and the Centre for Musical Studies, dedicated to postgraduate studies
for musical improvement, intended for the training of the Galician Orchestra
musicians.
The proposal has its origins in a competition asking
for the insertion of a pavilion which program demanded the development of
classrooms for the education of music, with defined volumetry, highness,
occupation and materials, in a non-symmetric exercise, as it is set against the
pavilion built by Portela, made of the same materials and similar dimensions.
The perception
of the building at different scales defines levels of comprehension. From the
distance, the building lets itself fall on the land. It sticks, without any
continuity, to a carpet of green grass that makes up the surface of the plot of
land, cutting out its silhouette in the space of the garden in a strong
definitive way, like a rock with cubic will. If we look from a middle distance
point, we gaze the border, the limit that before shaped an almost perfect form,
leads to the lack of definition; the trace of a broken line appears, distorting
edges, and a superficial vibration of light, material and shadow fixed to a
rhythm of seven parts. We move closer and the shape is broken; the pieces jump,
expressing its abrasive materiality and defining holes which provide the
constructive scales of the building, incisions of light that tear the facade
that saw from the distance transform the hole into a shadow which talks about
subtraction of mass by light in a vertical element, while the two big
perforations are a direct result of the big interior volume.
The masonry
granite work of the façade it’s made of stones opened “on the contrary side”,
searching for the spontaneous natural surface of “stereomity” which allows the
granite to be ripped more easy. It’s a constructive system that uses techniques
of drill to break the piece of stone, using as well the border sides, but in
the context of a reconsideration labour of the constructive process of opening
and cut off the stone. There’s a search of the constructive expression of the
stone, as we’ve learnt from the history, going back to Egypt and Rome.
From the
functional point of view, the acoustic requirements of the different rooms
where determinant on the design. This is the reason why the spaces which
require bigger acoustic needs, are linked to a big buried concrete basement,
which conforms the settling of the building, the accesses and regulates the
slopes of the topography. These are the bigger classrooms (auditorium, electro
acoustic, percussion rooms…), capable of hosting a large number of students and
eventual audience.
The upper floors
are ordered “by wheels” walkable by the inner ring and which size and public
character decreases the higher they get. The upper floor is dedicated to study
rooms and teachers’ offices.
- Ensamble Studio
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