The project, which extends over the whole plot, has in plan and section the shape of a butterfly.

On the left wing, which has two stories, there is an auditorium, and above it, a nursery for the neighborhood children.

On the right wing, distributed among three stories, there is a small gym, classrooms for adults, the exhibition area and the social premises.

From across the road, the building appears as a solid rock built from concrete with stones projecting different scales of gray along with ash colored perforated and corrugated metal sheets, while the single story façade facing the forest is a transparent and permeable body.

The pillars supporting the roof in the generously spaced areas are painted in such a manner as portraying the trees outside.

Visually, between the buildings two wings, colored in white tones and with the help of a small three story curtain wall, we find the permeability point between the lower and upper bounds of the terrain, becoming the link between the “upper” and “lower” doors.

This empty, double height space is occupied by the stairs and elevators, working as a connection between the left and right blocks. The outcome is a reproduction in image and function of the small, steep path that existed at the site prior to the construction of the community center.

Architects: José Miguel Roldán y Mercè Berengué (Roldán + Berengué, arqts.)

Site: C-1413 Road, Rubí, Barcelona

Consultant: Structural:  Bernúz-Fernández, Arquitectes, S.L., Mechanical:  Julián Passardi (ae-t Ingeniería – Tecnioracle, S.L.) i Joan Escanelles (PGI Grup), Quality and quantity surveyor:  Xavier Badia (Vinclament S.L.P.)

Collaborators: Vicenç Sanz, Isis Campos, Rosa Hereu · Juanjo P. Jarque, architects.

Area: plot:  758m2 buit: 1716,06 m2

Budget: 3.425.033,50  € PEC

Photography: Jordi Surroca

Nowadays, a new generation has moved in and the house has been reorganized according to them. A small apartment on the top floor and a 3-level house have been arranged. The new distribution empty the center of the building, to incorporate two stairways; a main staircase to provide access to the attic and another one inside the 3-level house that becomes the core of the new house. This staircase is designed to communicate, store, define spaces and allow visual from and through it.

Overall, the project involves an intervention where new objects are differentiated from the old ones, encouraging the contrast between them and revitalizing some who had fallen into oblivion.

Author: Oriol Vañó

Collaborator: Lluïsa Morao

Consultants: David Codinach, structural, Ildefons Valls, quality surveyor.

Area: 393 m²

Budget: private.

Photography: Do-Allo Estudi.

Author: Jaume Terés

Work directors: Jaume Terés, Miquel Àngel Sala (BOMA)

Consultants: Structural: BOMA, Quality surveyor: ACSA Obres i Infraestructures, SA.

Collaborators: Sílvia Forns, Rubén Aragüés, Jordi Cestero (BOMA)

Area: 2694,75 M2

As the volume of this building tipology is quite big, it is positioned in the most carefully way in relations with the surrounding buildings. Thus, the building goes back on the alignment of the Pintor Fortuny street and proposes a green strip that keeps us separated from the smaller houses. Facing Ca n’Oriol street stands a lower volume that allows a more gentle relationship with the blocks placed in front. This part of the building contains the services, a storage room and climatization systems. In the existing dressing rooms building side (the opposite), another lower volume is placed to be used as a stage for scholar plays and performances. The accessibility between this building and the playground and the new facility is solved by adapted ramps ans stairs. Finally, the main acces to the sports center is located at the south side, creating the main facade in front of the school and the smaller yard that remains. This acces is formalized with a cantilever of about 3,5m that works as an outdoor lobby.

For the construction of the building we use industrial processes in order to minimize the execution time and the interference with the normal development of the school. The project aims to qualify the building with the careful treatment of the natural light, the crossed ventilation and through the value given to the structural and constructive solutions used.

Author: CASANOVAS, GRAUS, PÉREZ architects (Ana Pérez Lázaro i Joan Casanovas Miñán)

Consultants: Structural: Guillermo Barenys y asociados Mechanical: PGI engineering Project Manager: Edetco tècnics

Collaborators: Mireia Salvadó Pellisa, Marcos Batista Viana de Souza i Íñigo Gómez Arribillaga (architects)

Area: Built: 1.660 m2 Site Area: 3.980 m2

Budget (PEC): 1.690.000 + IVA

Photography: Francisco Urrutia

The commission was to solve this accessibility handicap and at the same time, improve the space in order to create a new exhibition atmosphere.

We designed an illuminated socle that shows the foundation level of the vault and it goes on to the ramp showing that the vault continues. The illuminating level is the same as the original floor level of the vault. The lighting system let us programme several scenes, according to the requirements and the needs of saving energy of the museum

They also asked us to design a store for the use of the museum staff. We did this by projecting a perspective end with illuminated glass, where we relocated La Tecleta, and in this way we also highlighted its importance in the room

The glass wall doesn’t touch the existing  stone  walls and leaves a space and along with its own lighting also highlights the length of the vault.

From the other side to the ramp, the socle is like a banister which then open out to the podiums where the Romans pieces are exposed, illuminated by raking light in order to be able to observe the texts written on the stones

Both in the podiums and in the socle we have available space with back lighting in order to be able to write whatever is necessary.

The introduction of white as a main color makes a contrast with the new and the already existing parts without being too loud and without affecting its historical importance.

Authors : D2arquitectura,  Asuncion Vidal Layel- Manuel Pérez Saavedra

Collaborators: Arquitecte Tècnic: Antoni Curull Ceron

Site:  Museu d’Història,  Plaça del rei, núm 1, Tarragona

Area: 247,85 m2

Budget: 161.579,37 € PEM

Photography: Carles Balsells Olivé

The building volume is defined as a solid body, with a void on the ground floor, which oxygenates the Street San Isidre, while leading the views to the sea. This void creates a ground floor porch where the main entrance is located.

Inside the building, the plant is divided into two strips: the one with common spaces throughout the building length, which distributes traffic between all the spaces, with large openings and distant views towards the sea, and the classrooms strip, with openings of a more appropriate scale for an old town, respecting the environment and protecting the privacy of neighboring homes and classrooms.

The ventilated facade is finished with perforated panels that form the same original geometric pattern mosaic covering the floor of the old house. With the placement of these plates we wanted to put all the emphasis in the past of the site where stands the new building and witness the former existence of the popular shop of Anita.

During the design and construction process, energy and environmental aspects of the building has been enhanced. The building has been designed following the parameters of the LEED energy certification, being one of the first cultural facilities in Spain involved in this process.

Project: Equipamiento Social Ca L’Anita- Estanc de la Punta en Roses

Authors:  exe.arquitectura ( Jaume Valor + Elisabeth Sadurní + Marc Obradó )

Consultants: Etec (budget), Arquitècnics (mechanical), Bernuz-Fernandez (structural), Conrad Torras (graphic design), Green Living Projects (LEED consultant)

Collaborators: Laura Llimós, architect. Marc Abril, architect.

Area: 900 m2

Budget: 1.564.200,00€ PEC

Photography: Conrad Torras

Before our intervention, the house was abandoned and it was in danger of collapsing. The house had suffered a lot of interventions which had misrepresented the original shape of the building.  The project led to requalification of the existing building, on one hand enhancing and recovering the most historic values, and on the other, clarifying its spaces, which were dark and chaotic, by a new layout with two visual axes and through the introduction of natural light which now is reaching every space of the house.

We focused our intervention in two points, the west façade and the tower’s interior. We designed a new access path ending in a meeting plaza which preludes the entrance of the academy. This entrance is framed by the new “loggia” which was designed in a neutral modern language, this element is made in iron and glass, and its shape engages the unconnected old parts of the west façade.

The defensive tower which had been the old symbol of the house has been restored. The floors have been removed, creating a dramatic vertical space that leads to the old wodden staircase at the top of the tower. All the plaster has been removed, and the stone structure is now visible.

The project also includes the landscaping of the parcel. We were aware of the industrial context and we’ve tried to generated and isolated atmosphere using the topography, and planting local vegetation.

Project title: Grífols accademy. Masia de can Guasch Rehabilitation.

Site: Parets del Vallès

Architects: Luis Twose Roura, TwoBo arquitectura

Collaborator: David Roura, quality surveyor

Budget: 1680000€

Built area: 1300m2

http://www.new-territories.com/ZOO/  includes memories, current views, maps, history, and the concrete innovation and evolution from XIXth Craft Man Know How, from a Walter Benjamin and John Ruskin uniqueness to… NOW…

Credits: François Roche + R&Sie(n)

http://www.new-territories.com/

Kevin Lynch, urban planner, 1990. (1)  

The viewers of the British channel, Thames Television, voted in 1985, that the problematic local authority flats, Robin Hood Gardens and Trellick Tower, were the worst modern buildings in London. This vote is just one of the times in which popular rejection has been demonstrated towards Robin Hood Gardens, which is currently waiting to be demolished. The image of the deterioration of its concrete structure, which has never been maintained, but still valid, is joined to a certain prejudice of the British society towards the massive use of the concrete in housing blocks, which seems to reflect a more industrial recent past. On the other hand, Trellick Tower has been re-evaluated the London high-standing real estate market.

 “The image idea is interesting, since from it arises the idea of knocking down. It is to the people who does not live there and to the council mayors to whom it is difficult to accept its presence.”

Druot, Lacaton and Vassal, architects,  2007. (2)  

Robin Hood Gardens (1972), is a local authority housing scheme in Tower Hamlets, East London. It was built by the British architects Alison and Peter Smithson, in a lot, nearby the city’s financial centre, Canary Wharf, and the London 2012 Olympic Park. In March 2008, the local council announced the demolition of the 214 duplex flats in the existing urban complex as part of a new urban plan for the zone. The so-called “Blackwall Reach Regeneration Project” will see the building of 3000 new houses and facilities for the local community. Previously, the authorities felt that Robin Hood Gardens did not utilise enough architectural quality for its conservation. In addition, they argued that the investment of £70.000 per flat for the renovation would be too expensive. In 1963, Robin Hood Gardens had already been part of an urban plan that involved the demolition of the existing unhealthy terrace houses. So, paradoxically, in the 21st century, the urban development logic about demolition/reconstruction of urban residential fabric will repeat itself once again in this lot.

The problems of Robin Hood Gardens’ obsolescence are principally technological. Its lack of suitable maintenance and energy inefficiency adds the problem of overcrowding as a result of the numerous family groups. Nevertheless, from a typological point of view, the 214 duplex type flats of the urban complex have generous dimensions. Moreover, they are well distributed, illuminated and ventilated. Why is this potential wasted away?

The study Plus (2007) by the French architects, Druot, Lacaton and Vassal, demonstrates that the necessary budget for the demolition can be invested in a much more suitable way. The study suggests a constructive, typological and programmatic renovation of the existing flats and that in addition there is a potential for economical profit. However, European urbanism still follows the arguable logic prescribing a “do/undo” where it does not fit Rem Koolhaas’ concept, “Suspending Judgement”, which seeks to postpone a judgment to this type of architectures, like the 60s and 70s residentials, which seems that they lack sufficient value to invest in them.

It is necessary to indicate that a technological obsolescence implies the modernization of elevators, thermal and acoustic insulation. Functional obsolescence involves improvements in dimensions, distribution, orientation, densities and uses.      What remains and what is destroyed to re-do? Other examples include:

The Balfron Tower (1965), was built by Ernö Goldfinger. A few meters from Robin Hood Gardens, there were 146 local authority flats. Though there are also problems of post-occupation, the building was catalogued and then it was sold with a refurbishment project that will invest £137.000 per flat and it will basically improve its thermal behaviour and it will provide new elevators. In spite of having technological obsolescence problems similar to those of Robin Hood Gardens, its heritage cataloguing prevents its elimination and the investment for its rehabilitation implies its repositioning within the real estate market. In London, other similar processes have already happened with other post-war local authority flats like the Trellick Tower (1972) and the Keeling House (1955), or the recently refurbished large urban complex of Sheffield Park’s Hill (Sheffield, 1960).

Across London, one can see that by the logic of urban contemporary planning of the European cities, the domestic and urban potential of many of the post-war local authority flats, technologically obsolete. This makes it difficult to invest in their refurbishment and to keep their status as local authority housing, which leads them to their elimination or their repositioning in the Real Estate market which is managed by its own laws.

What socioeconomic change would have to happen in order that this conceptual reversal does not take place in the current problem of access to affordable housing? It is possible to affirm that the sustainability need for the 21st century will necessarily imply an environmental efficiency of the existing buildings, and it will be an opportunity to                    restructure the construction sector, from an economic activity based on the production of new structures, towards an activity based on the re-use and transformation of the existing ones, producing habitability with low environmental impact. It has been demonstrated that to refurbish rather than demolish potentially valid structures, it can save up to 60 % in energetic resources.

“The rehabilitation can be a tool in the fight against the Climate Change, but it implies an adjustment of the economy towards a carbon free economy.”

Albert Cuchi, architect, 2010. (3)

1_ LYNCH, Kevin, Wasting Away – An Exploration of Waste: What It Is, How It Happens, Why We Fear It, How To Do It Well. Gustavo Gili, Barcelona 2005. p.92-93

2_ DRUOT, Frédéric, LACATON, Anne, VASSAL, Jean-Philippe, PLUS: Large Scale Housing Development – an Exceptional Case. Gustavo Gili, Barcelona, 2007.

3_CUCHI, Albert, Presentation in the ” International Congress on rehabilitation and sustainability. The future is possible ” in Barcelona on October 4th, 5th and 6^th 2010.

“Enhance the house”. This, and none other, was the objective of the commission that Pere Negre and Engracia Balet entrusted to the architect, whose work on refurbishing the Can Negre farmhouse in Sant Joan Despí would go on for fifteen years, dictated by the yearly profits of its owners. Dressing and transforming the home. Something that Loos had already explained in The Principle of Building (1898): “Let’s say that the architect’s general task is to provide a warm and liveable space. Carpets are warm and liveable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. (…) In the beginning was cladding. Man sought shelter from inclement weather and protection and warmth while he slept. He sought to cover himself. The covering is the oldest architectural detail.”[1]

We simply need to look at photographs from towards the end of the refurbishment process of Can Negre to recognise, above the central window, the gesture that epitomises Adolf Loos’s maxim: the covering. The architecture of J. M. Jujol uses this gesture, which was already evident from the first sketches that documented the reform, to echo the first principle of architecture: protection from the elements.

J. M. Jujol thus reveals the true value of his work. His work not only covers but also reveals, allowing what is natural – the air, the water, the earth, the flora and fauna – to dress the architecture. And this can be seen in the change of render that reverberated with the fluttering leaves of the trees in the garden that faced the façade; hence the main window seeks contact with the earth by means of slender iron bars that could easily be the legs of some great insect living in the surroundings of the old farmhouse; thus he allows the birds to flit across the façade, fluttering by doors and windows whose jambs and lintels gradually disappear until merging into a continuum with the threshold that separates inside from outside; thus the cornice outlines the plane of the façade beneath the sky, undulating and taking on the breadth and texture of the palms that once stood close by and are now long gone.

The architecture of J. M. Jujol was not short of resources. In fact, he accommodated all of them, using them, transforming them and sharing them, uniting emblems, materials and techniques. This is what we see through the eyes of J. M. Jujol; this is how Can Negre was refurbished.