between city & landscape
unit g school of architecture and the visual arts university of east london academic year 2008.2009
between city & landscape
unit g school of architecture and the visual arts university of east london academic year 2008.2009
between city & landscape
TUTORS
GUEST CRITICS
XACOBEO
Aurora Armental Ruiz Stefano Ciurlo Walker
Antonio Amado Lorenzo Jamie Baxter Etienne Clemént Frank Furrer Ferrán Grau Valldosera Mark Hayduk Juan Iglesias Babio Nicholas Lobo Brennan Ignacio López Alonso Lourdes Peréz Castro José Manuel Pichel Pichel Robert Philip Thum Svinder Singh Sidhu Arthur Smart
José Manuel Pichel Pichel
estarstudio
UNIT G STUDENTS Amanda Thompson Andrew Salmon Anna Demetriou Babis Konidis Bikrant Pakhrin Brendan Skinner David Phillips Emmy Anjou Farrokh Aman Fiona Magar Gabriel Munnich Ian Burges Joseph Little Kazeem Abari Krists Ernstsons Magdalena Pelszyk Nefeli Baimpas Dimopoulou Michalis Anastasiou Paulina Adamczyk Riichiro Sakashita Rory Saunders Sanae Mizushima Savvas Tillyros Sina Zekavat Tsuyoshi Wada
EDITION & PRODUCTION
GUEST LECTURERS Rose Walker Antonio Amado Lorenzo José Manuel Pichel Pichel Ángel Panero Pardo
THANKS TO Rodrigo Pérez de Arce Czes Bany MOSTEIRO DE OSEIRA Fr. Juan Hernández
Javier
www.estarstudio.eu
Lourdes Peréz Castro Ángel Panero Pardo FUNDACION BALLESTER OFFICINA ALLARIZ
GONZALO DE
TORRENTE
URBANISMO
DE
Marta Somoza Celestino Feijoo CAMBRIDGE Christ College Corpus Christy College Gonville & Caius College Jesus College Magdalene College Pembroke College St John’s College Trinity College Queen’s College PHOTOGRAPHY
Martín
LICENCE
Aurora Armental Ruiz Stefano Ciurlo Walker between city & landscape unit g university of east london academic year 2008.2009
CONSORCIO DE SANTIAGO
Etienne Clement
PRINTED & BOUND In Santiago de Compostela
This work is licensed under the Creative Commons Attribution-Noncommercial-No Derivative Works 2.0 UK: England & Wales License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/2.0/uk/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA.
Nino Centro de Impresión Digital
CONTENTS foreword drawings & words Cambridge courtyards Corpus Christi College Downing College Gonville & Caius College Jesus College Magdalene College Pembroke College Queen’s College St John’s College Trinity College between city & landscape reconstructing place albergues along the Vía da Prata Allaríz Santa Mariña de Aguas Santas Ponte Sobreira Mosteiro de Oseira Transfontao Oca Calzada do Sar San Lourenzo Sarela de Abaixo
Previous pages, Rory Saunders agricultural fields and a small settlement along the Vía da Prata, Ourense.
foreword
Books are one of the tools we use in the unit to record, develop and present our work. Together with the realization of drawings and construction of models, making a book is a useful way to record our thinking process through the careful combination of text and images to communicate intensions and ideas. We believed a book that recollects the work of the year would be a way to archive works that otherwise would not be seen together again. Due to the variety of origins and diversity of background of our students, after the year is completed, the work is dispersed, as many of the drawings are made by hand and becomes difficult to archive originals. Is then important for the school to preserve a memory of what was achieved in previous years, in order for students to progress or learn from some of the many fields of research developed in the various units. It is also important for the students, whose work is the essence of this publication, to keep with them a
document of their learning, progress and achievements. Drawings, images, models and texts of all students of the unit, both second and third year, are presented in the book, dedicating a space for each project to be communicated. The intention of this publication is to try to record the energy of a remarkable year. The work in this publication is the result of the many kilometers walked, endless iteration of drawings, the obstinate production of models and, above all, the endless hours spent together in the studio. But the intensity of this year resides in the effort and character of a remarkable group of people that every one of us should be proud to be part of. We would like to thank all the students and everyone both here in London and in Galicia that helped us developing the work over the year and putting together this book.
books
process book integrated design report
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5 Previous page, various pages from process book, Sina Zekavat. 1.Process book, Rory Saunders. 2.Process book, Anna Demetriou. 3.Process book, Fiona Magar. 4.Process book, Michalis Anastasiou. 5.Process book, Paulina Adamczyk. 6.Integrated design report, Paulina Adamczyk.
drawings and words
The relation between reality and its representation is at the core of the importance given to the construction of our drawings and models. When we draw, according to the scale we are using, we choose the essential lines to describe what is important at that specific scale. As we change scale, the intention in drawing is to express the persistence of ideas behind what appears on paper. As with drawing, there are limits to the competence of words in describing objects and the space in which they sit. The year started with the analysis of the urban structure of the city of Cambridge and the college courtyards that characterize it. The project drawings and words: Cambridge courtyards aims to explore the limits of drawings and words to represent the world around us. The emphasis is in a rigor; not only in describing places, but also in the way we look at them. Students developed techniques that allowed them to measure, draw and understand places, with the intention of giving a reading of their physical qualities. Each student was asked to survey a courtyard belonging to a Cambridge Colleges and its environments.
Sina Zekavat, surveying the Gate of Honour, Caius Courtyard, Cambridge.
Orthographic drawings at the specific scales of 1:500, 1:50 and 1:5 became the means of a direct understanding of space. This three drawing become a mechanism of knowledge, as measurements were taken with our own hands, reproducing the complexity of an architectural element as existing through the abstraction of plan, section and elevation. The abstraction of orthographic drawings allowed us to study spatial and material relationships not always perceivable from our singular point of view. The aim of the project was to develop an ability to observe, measure and record place, but also to develop a personal drawing language. Great care was given to how the drawings are constructed as pieces, and the relationship between them, giving attention to the detail: dimension, orientation and quality of paper, finesse and precision of line, dimension and quality of font, balance of color and equilibrium in composition when integrating text and photography.
Cambridge courtyards
college index
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Corpus Christi College Downing College Gonville & Caius College Jesus College Magdalene College Pembroke College Queen’s College St John’s College Trinity College
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Tsuyoshi Wada, Cambridge colleges.
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Corpus Christi College Paulina Adamczyk
“Corpus Christi was founded in 1352 by two town gilds: the gilds of Corpus Christi and St Mary. The college consists two courtyards:
mainly
of
The Old Court is an irregular twostorey quadrangle from the C14 and originally had hall, kitchens and offices, Master Lodge, library and rest of chambers, whereas nowadays is serves mostly as student accommodation. The inner fronts to the court are plaster rendered with windows and doorways of different shapes and sizes as a result of alterations over centuries. The New Court was built in 1823-7 in Gothic Style. The court is entered from Trumpington Street through a long and high, stone-faced front
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building with a central gatehouse in the Cambridge tradition. It is entirely symmetrical, with the chapel placed opposite and in line with the gatehouse, the library on the left and the hall on the right, both with big Tudor windows. The investigation explores the variation in attitude of the different courtyards as we move through from the New Court to the Old Court and even further to small courtyards. This change of attitude or atmosphere emerges from the official recognition of the New Court to the less representative and domestic Old Court.�
1.Plan comparing New and Old Court, exploring differences in scale, layout and organization. 2.Elevation studies exploring how different attitudes are the result of symmetry or asymmetry, proportion and fenestration arrangement. 3.Detail drawings portraying doorways from both Old and New Courts highlighting differences in material use, inhabitation and maintenance. 2
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4.Ground study.
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condition
comparative
Downing College Andrew Salmon Kazeem Abari Rory Saunders
(2)
Downing College occupies 15 acres of land between Regent Street and Tennis Court Road. The original arrangement, by William Wilkins, ignored the traditional Cambridge College plan and organized the elements comprising the college symmetrically in two separate blocks of buildings linked only by screen-walls around a spacious central area. The College in its actual condition deviates from Wilkins scheme and the Court is now closed towards the north by 2 L-shaped ranges built in the C20 and open towards the landscape to the south.
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The college retains a feeling of being at the edge between town and landscape, more spacious than any other, a precursor to the campus of Jefferson’s University of Virginia.
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1.Andrew Salmon, plan describing how the central courtyard is defined by both buildings and nature. 2.Andrew Salmon, detail of cornice, exploring how Neo Classical architecture embeds natural themes. 3.Rory Saunders, detail of pedestal of portico showing weathering of the Ketton stonework.
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4.Rory Saunders, unfolded elevation of L-shaped north range, exploring relationship between three storey range and porticoes.
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5.Kazeem Abary, image of open courtyard and Ionic portico defining end of east range. 6.Kazeem Abary, sections exploring sequence of entrance from Regent Street define by both buildings and trees. 7.Kazeem Abary, detail looking through Ionic column and pilaster towards the landscape.
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Gonville & Caius College Fiona Magar Michalis Anastasiou Sanae Mizushima Sina Zekavat
Gonville & Caius College sits between the River Cam and Trinity Street together with Trinity and King’s Colleges. The College is a combination of buildings built between the C24 and C20 around three courtyards, conforming a clear city block in the fabric of Cambridge. A series of gates, Gate of Humility from Trinity Street, gate of Virtue and gate of Honor create an elaborate spatial sequence.
(3)
Caius Court faces south and consists of two ranges east and west, the third being formed by the chapel and the south side being left open with low wall and a gate pavilion allowing views towards Senate House and King’s Chapel.
The college grew slowly from Gonville Court, lying north towards Trinity Lane, being the innermost of all courtyards having no direct connection with the Cambridge.
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1.Sina Zekavat, photograph portraying the Gate of Honour in the foreground and the city beyond.
2.Sina Zekavat, detail showing stone articulation of entrance gate from Trinity Street. 3.Fiona Magar, detail of door of Gate of Honor’s wooden door (closed). The drawing shows the rough wooden textures of the small door which its big black metal fixtures such as the keyhole and hinges. 4.Fiona Magar, section through Caius Court showing the different layers of buildings in the background
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5.Fiona Magar, plan of College highlighting Caius Courtyard and the buildings you can see behind southern wall, Senate house, the old schools and library and Kings Chapel.
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6.Michalis Anastasiou, plan of Gonville Court that exemplifies the dramatic change of the view experienced while walking through the arched passage. 7.Michalis Anastasiou, detail of the exit door located on corner of north range. The stone door, leading to the Tree courtyard, makes you feel curious about what is coming next – a feeling evoked by the orientation of the stone passage. 8.Sanae Mizushima, photogrammetric study of Gonville Court.
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9.Sanae Mizushima, section Through Gonville Court showing the controlled plainness and the simplicity of the architecture in the courtyard through expressing the symmetrical geometry of the faรงade and continuing uniformity in height, and very little articulation of faรงade.
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10.Sanae Mizushima, detail describing the simplicity and flatness of the window, which is the repetitive element of the faรงade. Rain marks underneath windows manifest the slow work of time and weather on the fine ashlar stonework. 11.Sanae Mizushima, plan highlighting the relationship of the three courtyards within Gonville and Ciaus College as well as the difference in size of Gonville and Ciaus College amongst the courts in neighboring colleges.
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Jesus College Joseph Little Brendan Skinner Magdalena Pelszyk
(4)
Notably separated from the other more centralized university colleges, Jesus College situates just outside the northeastern fringe of Cambridge city centre. The calm, secluded position of its expansive site is a notable consequence of the college’s discernible monastic heritage. Formally a C12 Benedictine nunnery, the college now architecturally formulates through a complex composition of additional buildings that surround an original C12 cloister court.
Prior to visiting the college from central Cambridge, one can progressively comprehend the apparent urban detachment of city centre fabric, further augmented by the natural curved composition of Jesus Lane and the long college entrance that severs the integration of road and site. “King James 1, who visited Jesus in 1615, judged shrewdly when he said that, whereas he would worship in King’s and dine in Trinity, he would choose Jesus as he place in Cambridge for sleep and study”.
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1.Brendan Skinner, section through C12 cloister court highlighting the Gothic pointed arches revealed through the yellow-brick fourcentered open arches. 2.Joseph Little, plan showing the secluded position of Jesus College both from Cambridge city centre and the rest of the university colleges further augmented by the natural urban arrangement of Jesus Lane. 3.Joseph Little, section portraying how the enclosed intimacy of the central C12 cloister stamps a notion of solitary seclusion and a defined sense of place within the college complex while the surrounding broken courts allow an alternate embracement of the expansive landscaped grounds.
4.Joseph Little, detail of the outer wall of the C12 cloister that presents a dividing contrast in form and architectonic significance that conceivably derives from the court’s ‘monastic principles’. The complex articulation of masonry detailing and fierce brickwork conjure a sense of external visual complication that is immediately rejected internally by the stripped down simplicity of form and neutrality of materials. Such conditions help establish the subconscious aesthetic clarity and sense of calmness realized within the cloister’s walks.
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Magdalene College Amanda Thompson Tsuyoshi Wada
(5)
St Mary Magdalene College was established in Cambridge in 1428 as a hostel for student monks. The collage has two courtyards and garden beyond. The old human settlement of Cambridge was established on the southern side of the river Cam, and most of collages were constructed on this side of the river. The Cam was the border to divide the city and its outside landscape. Outside of the city was considered to be another would as the river is considered to be Acheron for a departed spirit. The activity of going through the gate into the First courtyard gives the visitor a spiritual affect. After the visitor enters the gate, an ordered, simplified and sophisticated courtyard appears before his eyes. In the past, the courtyard was considered a special space for ascetic. It can be said that the courtyard is another world. Therefore, the activity of entering is a preparation of the mind to enter the special space, and a spiritual effect transforms identity of the space in our mind. 1.Amanda Costa Thompson, section through First Court and Second Court. 2.Tsuyoshi Wada, relationship of Cambridge.
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plan showing College and
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8 3.Tsuyoshi Wada, gateway from Magdalene Street to First Court. 4.Tsuyoshi Wada, section through Gateway constructed in red brick. 5.Tsuyoshi Wada, plan showing passage from First Court to Second Court and highlighting how the space is narrower and darker than the main gateway.
6.Tsuyoshi Wada, section exploring the timber paneling and stone articulation of second passage. 7.Tsuyoshi Wada, section through gate leading to landscape. 8.Tsuyoshi Wada, last opening to landscape.
gateway
Pembroke College Anna Demetriou Ian Burges Krists Ernstsons
(6)
Pembroke College stands on the East side of Trumpington Street, therefore sitting firmly in Cambridge’s city fabric. Pembroke is the 3rd oldest among Cambridge colleges and is composed of four courts (First Court, Ivy Court, New Court, Foundress Court) linked by gardens and lawns. The original buildings of Pembroke chapel, hall, kitchen, and lodgings were built around Old court.
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The Old Library, located on the northwest corner of the First Court, was the original chapel facing Pembroke Street. In 1690 was converted into the library. The 1870s a new Hall was erected, a new Library added to expand Wren’s one, and the chapel extended by George Gilbert Scott. The college was extended in the C17 with the addition of two east residential ranges, which together with the hall formed Ivy Court.
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1.Anna Demetriou, photogrammetric elevation study of First Court. 2.Anna Demetriou, photogrammetric elevation study of Ivy Court.
3.Anna Demetriou, plan and internal unfolded elevations exploring variations in geometry and faรงade articulation of both First Court and Ivy Court. 4.Krists Ernstsons, section through New Court showing Chapel and relationship with the city beyond.
5.Krists Ernstsons, plan representing the development and expansion of the college since its foundation in the C14.
6.Ian Burges, sectional elevation exploring differences in material and fenestration between First Court and Ivy Court. 5
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Queen’s College Emmy Anjou David Phillips
(7)
Queens’ College was founded first in 1446 as College of St Bernard, then again in 1448 under its current name by Henry VI’s Queen, Margaret of Anjou. It is located on the river Cam, a few hundred metres south of King’s Chapel. Queen’s College remains the most complete and compact example of a medieval college at Cambridge. Its main structure derives from the juxtaposition between its C15 Front Court and the very unique Cloister Court, originally part of a monastery inhabited by the Carmelite Friars and that still retains the tranquil, isolated feel that is often associated with buildings designed for this purpose. 1
1.David Phillips, plan describing the route from Cambridge’s town centre to the quiet tranquil enclosed space of the cloister court.
2. David Phillips, plan and section describing journey from Front Court down into Cloister Court. As one steps up and enters into Queens’ College, a sudden change in atmosphere is distinctly noticeable being a quiet, private area away from the eyes of the town. A stone tiled path draws one forward out of the shaded entrance into the Front Court. A door beacons at the end of the stone paved path, and upon entering this, one starts a gentle decline down into the covered cloister. Occasional views are allowed through the evenly spaced windows of President’s Lodge, an English timber-framed structure.
3.Emmy Anjou, elevation of President’s Lodge, exploring its beauty being more one of irregularity and happy accident rather than plan. 4.David Phillips, detail of opening. After entering Queens’ college and crossing the courtyard, one arrives at the edge of the final descent down smooth, hard, stone floors into the covered cloister court. A direct line of sight through three doorways allows a view of two windows of this Court and gives a preview of what is in stall at the end of this journey.
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St John’s College Bikrant Pakhrin
(8)
St. John’s College is located northwest of the historic town centre of Cambridge and extends from the eastern bank to the western bank of the river Cam. It was founded on the site of the C13 hospital of St. John. Its formal configuration consists of a linear sequence of four courtyards, three on the east side of the river Cam and one on the western bank.
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The College is entered from St. John’s Street, leading to the First Court, constructed between 1511 and 1520. Passing the Hall, one finds the Second Court built between 1598 and 1602. The Third Court, built between 1669 and 1679, is accessed under the
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1.Image of Western range of Third Court. 2.Elevation of western range defining the Third Court. Attention is given to the ‘Oriel’ Window, resolving the connection with the Library on the northern side of the courtyard.
3.Plan of St. John’s College, highlighting variations in plan and section between the various courtyards.
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Shrewsbury Tower. Crossing the Bridge of Sighs, the New Court opens to the right, erected between 1831 and 1987 and the largest of the four.
(9) Trinity College Babis Konidis Farrokh Aman Gabriel Munnich Riichiro Sakashita Savvas Tillyros
Trinity College sits between Cambridge town, defining the west side of Trinity Street, and the floodplain landscape of the river Cam. Its spatial arrangement consists essentially of three courts defined by ranges built between the C14 and C20. The largest one, the Great Court is entered through the Great Gate from Trinity Street. The second one being Nevile’s Court was completed in the end of the C17 by Christopher Wren’s Library. The third is the New Court completed in 1825.
In the C19 the college grew, crossing Trinity street, organizing a series of courtyards, Whewell’s Courts, today housing the accommodation for students, while the rest of the college includes the elements comprising the rest of the college.
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1.Detail of window onto River Cam.
looking
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2.Plan and section showing relationship between Great Court, Nevile’s Court an the landscape beyond. 3.Section through Nevile’s Court showing how Christopher Wren’s Library is lifted to allow the connection of the courtyard and the river Cam.
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4.Farrokh Aman, plan showing how Trinity grew beyond the Great Gate, crossing Trinity Street forming a series of three courtyards connecting Sidney Street.
5.Farrokh Aman, section exploring the spatial sequence of Whewell’s Courts. 6.Gabriel Munnich, plan and unfolded internal and external elevations. The drawing highlights how external façades deal with the scale of the city and the internal ones are more reach in articulation as to define the character of the courtyards.
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7.Riichiro Sakashita, plan and unfolded elevations of Nevile’s Court investigating how the elevations overcome the distortion of the plan, emphasizing symmetry and elegance of proportion. 8.Riichiro Sakashita, elevation and detail study exploring the idea of elegance in façade articulation and stonework detailing. 9.Babis Konidis, elevation section of the Library.
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and
between city & landscape
In November 2008 unit g walked 150 km of the VĂa da Prata, part of the network of Jacobean routes that lead to Santiago de Compostela in Galicia, Spain. The Caminos form a network of routes that since the Middle Ages have been bringing pilgrims from allover Europe to the cathedral in Santiago. Since the 10th century the flow of people from various countries and cultures became the generator of a cultural network that had its manifestation in the construction of roads, bridges, churches, monasteries, hospitals and the growth and birth of new towns, based on the circulation of construction methods and techniques across Europe. The action of walking was for us a slow method of registration and understanding of the landscape, closely experiencing on our feet distance, scale, vegetation, geology, topography and the use of the territory. The slowness of our pace provided us with the opportunity to collect numerous precious fragments that allowed realizing precise reconstructions of these places along our route. We have tried to remind ourselves of the importance and value of survey, developing an ability to draw and understand places in order to give a reading of their physical qualities, allowing for their reasons of being to emerge, for the changes that have undergone over time
Etienne Clement, Baroque façade of the cathedral of Santiago de Compostela; final destination for the pilgrimage.
to be understood and for their sometimes hidden beauty to be revealed.
Along the way we found refuge in albergues: a network of publicly run buildings on the Caminos that are intermediate destinations along the route, where pilgrims meet each other and find shelter overnight. This year our main project was to design an albergue along the route we walked. For the duration of the journey we lived like pilgrims, allowing us to understand their needs and requirements, testing and studying this programme and its influence on the life of the communities where are located. As we walked, we looked for places where the introduction of new architectures was capable of revealing, reinforcing or intensifying an already existing community, character or atmosphere. We chose to work with and next to constructions of great historical importance, in abandoned hamlets, in rural villages in a process of change and in urban open spaces when cities meet the landscape.
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1.Anna Demetriou
2.Paulina Adamczyk
3.Magdalena Pelszyk 4.Tsuyoshi Wada 5.Fiona Magar
6.Farrokh Aman
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1.Michalis Anastasiou 2.Ian Burges
3.Joseph Little 4.Sina Zekavat
5.Tsuyoshi Wada
6.Bikrant Pakhrin 7.Sanae Mizushima
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reconstructing place
Casts have been widely used, up to the beginning of the 20th century, to reconstruct art pieces, architectural features and ancient objects of places and cultures sometimes very distant. With the same spirit, we have used casting as a method to reconstruct the realities of our sites in Galicia, trying to recompose the various fragments collected during our walk. By utilizing a particular casting method that allowed us to reproduce various pieces, we have realized casts of existing conditions “as found�, reminding us of what is actually there, and others for the introduction of interventions altering an existing equilibrium with the desire to complete or sometimes reinvent an existing situation.
Profound and careful understanding of place becomes our instrument and point of departure for the creation of atmospheres and search of spatial qualities that have a direct relationship with the place where they belong. This process of reconstructing place becomes part of the architectural project itself. It is fundamental for an architecture that is conscious of the value of things and routed in its place. The various cast produced formed part of an exhibition that took place in the university of east London, in conjunction with the visit by Rodrigo PĂŠrez de Arce to the school of architecture.
English route
Northern way
Primitive way Fisterra way
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French route
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Portuguese way
Vía da Prata
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Network of proposed albergues 1 2 3 4 5 6 7 8 9
Allaríz Santa Mariña de Aiguas Santas Ponte Sobreira Mosteiro de Oseira Transfontao Oca Calzada do Sar San Lourenzo Sarela de Abaixo
Concello de Allariz
Rua Vilanova, Allariz, Ourense (1) Santa Mariña de Aiguas Santas, Allariz, Ourense (2)
The Allariz area is one of the UNESCO Biosphere Reserves due to its biogeographic importance and its tangible and intangible cultural heritage. These territories conserve their traditional uses and a landscape that has been formed by human practices. It has archaeological, ethnographic and cultural elements dating back to the culture of the castros (2000 BC), the Bronze and Iron ages, the Roman epoch, the Middle Ages, etc., as well as religious or civil architecture such as pazos and family houses. The town of Allariz, which grew from a fortress controlling the Arnoia River, is today a lively well preserved historical town with a rich local commerce, tourism related businesses and industries. The river is still today the center of the town life: public parkland flanked by paths following the riverbanks under ancient oak trees. Abandoned leather factories have been restored and converted into restaurants and a museum. Santa Mariña is a rural settlement rich in historical and cultural remains. At the center of the town sits a three nave Romanesque church from the C 12. Its simple but well studied proportion and decoration recall the devotion to Mariña, the Saint of this area. A path, that follows all the sites of the Saint’s martyrdom, joins this church with an unfinished Basilica from the C 14: a granite construction built above a Roman crematorium of Celtic origin, where the Saint is believed was burnt alive. The myth tells she resuscitated to then be decapitated in the centre of the town. When her head was cut off, it bounced three times and where it bounced three springs originated. The springs and the fornos where she was burnt are still visible today. Next to the basilica sits the Armea City Castro, the remains of an important Pre-roman and Roman settlement.
Etienne Clement, Basilica de la Asuncion, Santa Mariña de Aiguas Santas, Allaríz.
Allariz
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Rua Vilanova, Allariz, Ourense
Andrew Salmon
The albergue sits between the Camino and the river, on the north edge of the historical town, giving the pilgrims the possibility to rest and refresh by the water. Special care is given to the conversation between new constructions and the existing terraces and existing granite stone walls. The project considers, both strategically and spatially, the possibility to expand the albergue in the future. As the proposal is visible from the top of the fortress, the perception of the albergue was developed through a careful study of the roofs. 1.“Nolli� plan of proposed Albergue, portraying the expansion of Allariz from the mount towards the river. 2.Elevation of existing condition as seen from Camino.
wall the
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3.View of Arnoia riverbanks, castle mount and the historical town centre. The site chosen for the new Albergue sits next to the public swimming pool and sport fields. www.allariz.com
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4.Construction section exploring relationship between the old stone wall and new constriction, conceived as concrete slabs supported on metal columns. Special care is given to de definition of the new granite stone walls and roof cladding. 5.Axonometric view of proposal.
6.Early atmospheric image exploring relationship between proposed interior and the existing stone wall. 7. Section of proposal from the Camino to the river, showing adaptation to terrain, open and internal spaces and the concrete terrace which would house a new dormitory pavilion in case of a future expansion.
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Santa Mariña de Aiguas Santas Concello de Allaríz, Ourense
To place an albergue in Santa Mariña has the intention of encouraging pilgrims to stop in this settlement and allowing for time to explore its rich historical and cultural heritage, helping at the same time to consolidate the population of this rural settlement. The albergue is as well an excuse to recover the currently abandoned Rectory. The building will also provide a museum space to collect and show most of the archeological and cultural remains from the village that are at the moment neglected, exhibited in various places across Galicia or kept away from the public. The proposal is very respectful with the historic fabric of the
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Rectory building, maintaining all the existing structural timber and granite walls. The intervention uses light plywood constructions supported on the existing timber joists to provide the various requirements for pilgrims. If in the future the albergue is to be placed elsewhere, the building could be easily converted to hold other programs. The proposal has the intention of recovering and emphasizing the physical and visual relationship that the Basilica used to have with the town of Santa Mariña. This is today lost, due to the neglect of the traditional crops and the afforestation of the fields between the town and the Basilica. The intention is to
Rory Saunders
create awareness to the visitors of the history and the richness of the cultural heritage of this site.
1.Description of the public spaces around the C 12 Romanesque Church of Santa Mariña, the interior of the church and the Rectory. 2.Two sketches comparing the current and the historical visual relationship between the unfinished Basilica and the Romanesque church of Santa Mariña de Aiguas Santas.
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3.Section showing the entrance to the albergue, the Town History Museum and one of the inhabitable windows, clad with copper sheeting of the exterior, looking towards the unfinished Basilica, introducing this monument to the pilgrims.
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4.Section through one of the communal rooms of the east wing of the albergue, which can be used by the local community during periods when the flux of pilgrims is low. The proposed volumes allow for space between them and the existing granite walls permitting views and light towards the museum area below. 5.Plywood lined, thermally insulated timber frame boxes, resting on the recovered timber joists, articulate the albergue.
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6.Elevation of the Rectory looking towards the Basilica. 7.Longitudinal section showing how the proposed rooms vary in height and proportions, controlling how natural light penetrates the museum space. 8.Section through the wet areas of the albergue. 9.Section through the dormitories and Town History Museum, showing relationship with the Romanesque Church facade.
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10.Section through the unfinished Basilica, showing the roman crematorium and a mirador piece that allows visitors to rediscover the visual relationship between the Basilica and the Church in Santa Mari単a. 11.Elevation of the Basilica and proposed mirador.
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Ponte Sobreira
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Concello de VilamarĂn, Ourense
Ponte Sobreira is an abandoned hamlet next to the River BarbantiĂąo. The main features of this place are the calm flow of the river, the native vegetation along it and the medieval single arched bridge built in the C13 for pilgrims to cross the river. As it crosses the river, the Camino is flanked by abandoned granite stone houses on either side of the path and some ancillary constructions. A long and well preserved horreo sits at the centre of the hamlet by the Camino. Ponte Sobreira is a serene spot, pace is only disturbed by few visitors and the horses that graze on the fields. The local legend says that swimming under the bridge can help women to get pregnant.
Etienne Clement, ruins in nature, Ponte Sobreira, Concello de VilamarĂn, Ourense
Ponte Sobreira
Savvas Tillyros
(3)
Concello de VilamarĂn, Ourense
The albergue at Ponte Sobreira is organized around a new courtyard, defined by the existing horreo, an existing house - that will be restored as a small exhibition space and work as entrance to the facilities - and a series of new constructions arranged in a C shape. The dormitories are placed on a higher level, creating an open space bellow, allowing a connection between the new courtyard and the river.
The decision of building a new albergue in this village follows a strategy of reoccupation. By proposing new constructions organizing a new core for the settlement, the intention is to allow for the other ruins to be restored and occupied in a later stage by local people. This could provide a permanent living community and other services for the pilgrims.
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1.The Ponte Sobreira bridge, built from C13 to C14 and restored in C17. 2.Plan showing the topography, vegetation and the built elements composing the hamlet.
3.Model showing how the Camino arrives to the bridge and then passes in between the houses of the settlement.
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4.Drawing showing the relationship between the Camino, the proposed albergue, the new courtyard and the landscape beyond.
5.The new constructions are conceived as timer frame and timer clad elements, contrasting with the existing stone constructions. 6.Model of the proposal studying the roofs of the different elements and the proposed facades.
7.Plan showing the albergue and its relationship with the Camino and the remaining ruins. 8.Roof plan of proposal.
9.Unfolded elevation of the albergue as seen from the outside.
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Ponte Sobreira
Babis Konidis
(3)
Concello de VilamarĂn, Ourense
The intention of the proposal is to reoccupy a series of existing houses that have been abandoned for the last 60 years. It was key to develop a strategy to identify what was to be retained and what should be taken down. This led to the demolition of a series of redundant constructions and the creation of an internal court that will become the core of the
albergue. The granite stone walls are preserved and kept as primary structure. Timber insertions define the various instances that the pilgrims need. A new timber bridge becomes a connection between the two preserved houses, creating a chain of communal areas, as well as defining the realm of the courtyard and the landscape outside.
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3 1.Model of existing condition, showing relationship between C13 bridge, the river and series of abandoned constructions. 2.Image showing the current condition of the abandoned houses chosen for the intervention and Camino in the foreground. 3.Scketch of the Sobreira bridge.
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6 4.Plan and unfolded elevations portraying the existing condition of construction chosen for intervention. 5.Section through proposal showing how the albergue occupies the solid masonry granite walls and redefines a lost courtyard. 6.Preliminary internal study exploring proposed connection between the two existing houses.
Mosteiro de Oseira Concello de Cea, Ourense
(4)
8 km away from the existing albergue of Cea, after walking along fertile rural landscapes, on the banks of the river Oseira (bear’s den) appears as a huge geometric mass the Monastery of Santa MarĂa de Oseira.
The original abbey may be Benedictine in origin, but it was incorporated in the 1141 to the Order of Cistercians, becoming one of the first Cistercian Abbeys in the Peninsula and one of the most important receiving large number of privileges and donations. The monastery suffered a fire in the C16 that destroyed most of its buildings, apart from the church and the cemetery chapel, which dates back to the C12. The church, apart from its C17 façade, is a clear example from the Ogival Romanesque style, common for the Cister order.
The complex is conformed by three cloisters surrounded by different ranges, the church and the Chapel adjacent to central one form the C14, and two protruding constructions: one holding the elderly monks dormitories to the south and another one dedicated to the Hostal and the C18 Library on the north-east side. The Monastery was abandoned and despoiled from 1835 to 1929 when a small community of Cistercian monks inhabited what was ruin. Since then they have been restoring room-by-room most of the spaces and historical features of the monastery. Today 14 monks inhabit and carefully maintain the monastery, obtaining their income from the agricultural products they sell, the visitors to the monastery and people that decide to stay for periods of time in the Hostal. An albergue in Oseira would allow pilgrims to spend an afternoon visiting the Monastery and meet the monks that inhabit it, a chance to experience a closed monastic life in an isolated and very fertile rural setting.
Etienne Clement, East facade of the Monastery of Oseira which runs along the Camino, Concello de Cea, Ourense
Mosteiro de Oseira Concello de Cea, Ourense
(4)
After consultations with the monks, the ground floor spaces around an uncompleted courtyard on the north of the complex were identified as a location to arrange the proposal. The spaces are under used and would provide the opportunity to complete this wing of the monastery. After observing the spatial and atmospheric richness of the monastery, special attention was given to the design of internal, external and semi external spaces suitable 1 for different uses.
The proposal provides an albergue, exhibition spaces and a new connection for public access in the form of a staircase supported by metallic columns. This solution follows studies of the other cloisters of the monastery and would impose a vertical rhythm to the courtyard and at the same time provide public access to the library. New openings will provide light and ventilation to spaces on the ground floor, currently unventilated and practically unlit.
Gabriel Munnich
The albergue occupies a vaulted nave adjacent the chapel that was never completed due to the geometric complexity of meeting the apse. The space will be maintained open to this side, preserving the tension between internal space and church exterior.
1.Plan exploring approach and presence in the landscape of the Monastery of Oseira. 2.Images of semi-interior spaces of the monastery.
3.Plan and unfolded internal and external elevations of the complex, looking at the difference in the architecture of the internal delicate cloisters and the austere external facades.
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The spaces of the albergue defined as dormitories, shower rooms and the kitchen are placed within an insulated metallic dry construction structure, leaving the rest of the space as semi open, defined by thick granite stone walls and vault, that will be comfortable in the hotter months when the flux of pilgrims is greater.
4.Plan and unfolded elevations of how proposal aims at reorganizing the unfinished courtyard and provide public access to the C18 library on the upper level.
5.Plan and long-sections of albergue proposal, located within the unfinished found space. The drawing also explores the link with the apse of chapel. 6.Cross-sections albergue.
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7.Images of found space and early study model showing how proposal is arranged within the vault.
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Mosteiro de Oseira
Krists Ernstsons
The albergue is proposed on the west side of the Monastery adjacent to the former bakery building. A new construction, that will hold the dormitories and reception, will provide a connection between the two existing buildings recovered as part of the proposal: a bakery and a C19 pig shed. The new piece defines a new courtyard outside the monastic life, with a close connection with the village facilities but next to the historical complex, allowing the use of the albergue independently from the monastery. The pig shed will be recovered as showers and other wet areas, maintaining walls and floor. The bakery building will recover its original use and will provide a small retail space for the monks on the ground floor to sell bread and communal flexible space above.
3 1.Image of the Monastery of Oseira from the west with the former bakery in the foreground of the complex. 2.Plan exploring the architecture of courtyards of the monastery and the ceilings of different spaces.
3.Image of former bakery, area of the monastery chosen for intervention. 4.Axonometric view showing how the proposal connects the existing bakery and pig shed converted in showers and wet areas for the use of pilgrims. 5.Photograph of cast model showing extent of proposal in relation to the rest of the monastery.
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6 8 6.Image of model exploring the continuation of the roof profile. 7.Image of model continuation of articulation found in constructions.
8.Elevation and section. 9.Cross section courtyard.
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10.South elevation of proposal. 11.Upper level plan. 12.Lower level plan.
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(4)
Mosteiro de Oseira
Magdalena Pelszyk
The project contemplates the restoration of the bakery building, construction that faces the main faรงade of the Church and defines one side of the public courtyard that serves as entrance to the Monastery. The albergue is to be accessed from this space, without intromission to monastic life and in close proximity to the bars and shop of the village.
The proposal aims at the creation of a new courtyard, defined by the existing bakery building, a new long piece that will connect the bakery with the existing stone pig shed and a subtle modifications to the backs of the old orchards towards the north-west. A system of canalization of an existing water spring is used to define the boundaries of the space together with a new paving. Particular attention is given to the definition of the south facing faรงade, following the rhythm and proportions of the existing constructions. The new built elements of the albergue are conceived as a dry construction, a metallic structure sitting within the existing pig shed and supporting a robust stone cladding.
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1. Plan showing relationship between village, the Camino entering it and the various pieces around the entrance courtyard of the Monastery: church, entrance gate and bakery building to the west. 2. Section through the three main courtyards of the monastery and south elevation showing their relation to the bakery and pig shed.
3. Early collage exploring extension of existing bakery above disused pig shed. 4. Early internal exploration of connection piece and stairs.
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5.Sketch of how water redefines the realm of the external spaces framed by existing and new constructions. 6.Elevation showing proposed fenestration and relationship between existing stone work and new stone cladding ‘lifted’ by the internal steel frame.
7.Construction section highlighting internal steel frame contained within existing granite walls, allowing for a semi-exterior condition on the ground floor and a completely thermally protected upper level for sleeping. 6.Sketch of approach to monastery from access road.
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8.Sketch exploring how proposal mediates between the found constructions and landscape geometry.
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The new wing contains an insulated space on top of the existing shed, providing a comfortable space for the dormitories. Showers, toilets and other washing areas are placed in the space below, within the existing walls of the pig shed. This provides a semiexterior environment that could be controlled through the use of copper lined insulated sliding panels. All the rest of the communal areas of the albergue are organized on the top floor of he bakery building.
9.Ground plan of proposal, with shared facilities located in the existing bakery, wet areas in the converted pig shed and connection containing stairs leading to upper level.
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Transfontao (5) Concello de Silleda, Pontevedra
Transfontao is a traditional Galician rural hamlet, located in the Concello of Silleda, an area of Galicia that bases its economy in dairy farming. The buildings and land around this area conserve their traditional uses, this being a landscape that has been formed by human practices, divided generally in small family owned properties. Transfontao grew around its Pazo, a manor house from the C18. The settlement is formed by a small number of properties containing a house, various other ancillary buildings and yards, all surrounded by granite stone walls. The Pazo itself sits inside a stone walled portion of land that also includes a horreo, stables, a pigeon house, a mill, a library, a chapel, an entrance yard, a garden-orchard and a large agricultural field. The family that occupied the Pazo also owned most of the land around it, including the great oak grove, which separates nowadays the village from the main road and a recently built industrial state. Following the Camino, one enters the village under this deep and orderly plated oak grove. An albergue in Transfontao could help to preserve some of the abandoned properties that sit next to the Pazo and help to diversify the local economy and therefore help to the sustainment of this traditional settlement, offering the pilgrims an ethnographically very interesting and quiet place to spend their afternoon and night.
Etienne Clement, interior of one of the uninhabited houses in Transfontao, Concello de Silleda, Pontevedra.
Transfontao (5) Concello de Silleda, Pontevedra
Michalis Anastasiou
After walking along the Camino through the deep oak grove of Transfontao, one finds on the right the stone wall that encloses the Pazo. Passing an ancillary construction, the oak trees open up, allowing for a brighter light. A sloping yard allows for a great view, over the roofs of the village, towards the landscape beyond the valley. The proposal aims to offer services for the pilgrims that wish to spend a night in this location as well as for those that choose this as a place to stop to rest, eat and refresh enjoying for a few hours the cultural and architectonic qualities of this rural settlement. Special attention was given to the definition of open spaces, how movement is controlled in relation to views and careful understanding of the existing topography. 1
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Traditional materials and methods of construction are understood and utilized in the refurbishment of some of the existing constructions. New possibilities offered by those same materials, implemented with current methods of construction, are explored in the tectonic definition of the new pieces. 4
1.Plan highlighting relationship of the hamlet of Transfontao with surrounding landscape, lying at the centre of a large pocket of rural land. Topography and vegetation allow Transfontao to maintain its character, screening transport infrastructure, industrial estates and larger settlements as Silleda.
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2.Approach under oak grove.
3.Plan and section showing how the Camino enters the Oak grove to then turn with the Pazo´s wall to enter the settlement. The section explores the topographical drop when leaving the forest and entering the Village. 4.Looking back at the Camino, recording the topographical change and showing the lowest part of the settlement, the Pazo´s church on the left and the abandoned constructions that will be used for the albergue facilities on the right.
5.Cast reconstructing the basic elements of the settlement: topography, different types of vegetation, existing land divisions and constructions. 6.Contrastig with the closeness of the grove, the openness of the yard is emphasized, after studying the view at the moment of arrival, by demolishing an ancillary construction and the wall around it. Four new granite stone pieces guide the movements of the pilgrims through the village, external places to stop and contemplate the view and providing various services in their interior.
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7.Two existing houses are restored, each one providing dormitories, showers, toilets, a kitchen and a dinning area. The plan shows the shower rooms and dormitories of the upper floor of the first house the pilgrims see when entering Transfontao.
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8.The new granite volumes are carefully placed to offer surfaces where to stop and to indicate pilgrims their way thought space. Plan indicating how one of the volumes gets closer to one of the restore houses, acting as an entrance terrace and how the communal areas inside the house are organized respecting the existing level changes characteristic of the rural houses of this area. 9. Constructions that seem to be platforms from the upper level, after descending between them, are discover to have entrances to robust interiors: granite volumes that are either used to collect and store water or to provide services to those that decide to rest in Transfontao. Pilgrims can store and forget about their rucksacks for a while. The existing construction sitting in a central position is used as a reception on this level. The plan also shows the upper level of the second house, which is used as dormitories and shower rooms. 10.The lower level of the central piece holds a communal space. After descending the few steps between the two constructions at the lower level, the pilgrim finds a yard providing an entrance to the second restored house and an exit to rejoin the Camino.
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11.The new volumes, together with the existing constructions, frame the views towards the valley beyond. 12
12.Early cast model studying the location of the new pieces.
13.Section showing how the changes in level are used in the proposal and how the new granite volumes, learning from traditional architecture, take profit of them. The drawing also shows how the existing houses are restored, intervening in their interiors and roof, but respecting their faรงade and existing levels to maintain the character of the village.
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14.Construction drawing of how the new volumes utilize large size granite pieces joined with dry stone construction techniques. All the floors and permanent pieces of furniture that touch the ground are built using blocks of this local material, emphasizing its tectonic qualities. Local timber is used to clad interiors - where thermal insulation is required - and to build new doors and windows. Roofs are reconstructed and clad in zinc, for the whole intervention to have sharp
roof profiles against the rough qualities of manually constructed walls and roofs. 15.Image of granite volumes and of granite stones embedded in the ground, helping to define areas for the pilgrims to rest.
16.Elevation of the albergue from the Camino, showing the refurbishment of existing constructions in relation to other inhabited constructions in Transfontao. 16
Transfontao
(5) Concello de Silleda, Pontevedra
David Phillips
The project defines a new cloister like structure that joins three existing constructions, currently in ruins, forming external courtyards and intermediate spaces for circulation. All the basic functions of the albergue are located in the refurbished existing stone buildings. A new library, which could be used by both pilgrims and the locals, appears as an extension of the new timber structure, next to the entrance of the village church. This part of the scheme recovers a today lost meeting space that the community used to enjoy in the Library of the Pazo, before the current owners closed it down and sold its contents. 1.Sections revealing the relationships between topographical changes and existing constructions.
2.Atmospheric image exploring “space in between�, the proportions and tectonic definition of the proposed cloister which allows views towards the landscape beyond. 3.Plan of hamlet, revealing its structure and how the Camino crosses the settlement.
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4.Plan showing how a series of constructions are linked by a lighter timber continuous element. 5
5.Images of how proposed roofed structure joins the three existing constructions, as it makes its way down to connect the different levels of the settlement.
Transfontao
Paulina Adamczyk
(5) Concello de Silleda, Pontevedra
1 12 years ago, when the construction works for the new Transfontao industrial state began, the Xacobeo decided to indicate an alternative route diverting the Camino away from the estate. This move also meant that pilgrims would not walk along the trafficked main road to Silleda. The route became permanent, rediscovering dirt tracks under trees, along cultivation fields and through the hamlet of Transfontao. Transfontao did not grow along the Camino, but developed around
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the Pazo, following the sloping topography, looking west towards cultivated land and open fields. The pilgrims enter the village from a backyard, a neglected open space used as a storage or parking lot.
The proposal has the intention of turning around the direction of the village. The albergue, together with the existing constructions of this area of the settlement, gives a new front elevation acknowledging the Camino, transforming this village
back yard “Campo�.
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Special attention is given to the definition of the façade that the pilgrims see when arriving to the village and its relation to the scale of the settlement. The materiality of the proposal develops from the use of one local material, simple construction techniques and the possibilities these could offer in the control of natural light, ventilation and privacy, developing a clear thermal strategy.
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1.Model images showing the main physical elements that make the village: the property walls, the trees and buildings and how these define space.
2.Transfontao, surrounded by fields to the East and the oak grove to the south, in relation to the main road, the town of Silleda and the industrial estate, that originated the change to the Camino.
3.Study model showing the proposed albergue in between existing constructions and how the public building responds to the domestic scale of the settlement. 4.The albergue has on it front big scale concrete frames, that as big window open the faรงade towards the Village green and help defying it. 5.The albergue defining a space that welcomes the pilgrims that arrive from the oak grove. The albergue is fragmented in two parts, to deal with the scale of the town and to maintain current access to various properties.
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6.The main elevation of the albergue is composed by 4 four concrete frames, sometimes over two stories, opening towards the public space, and the slate windowless main construction.
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7.From the village side the albergue appears as a series of slate volumes, divided by courtyards and a passageway allowing light and ventilation to the inner areas of the proposal. The caretaker house has a large opening looking towards the valley, like the other houses of settlement. 8.The piece on the southwest holds the dormitories, shower rooms and other service areas as the bike store and the washing areas. The one on the northeast accommodates the communal areas and an information point/reception next to the dwelling for the caretaker.
9.View of the new village Campo, which offers the village a space to celebrate festivals or markets as the traditional “Campos da Festa” or “Campos da Feira” we encountered in other villages. The albergue opens towards the Camino welcoming the pilgrims. 10.Early study model investigating the possibilities of the dry slate wall construction allowing the penetration of natural light and ventilation for the creation of a particular atmosphere in the albergue. 11.Types of wall construction, from thermally insulated to completely breathable.
12.Detail construction section, exploring envelope construction. Structural support is provided by load bearing slate walls and in-
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Transfontao
(5) Concello de Silleda, Pontevedra
All the properties in the hamlet of Transfontao are surrounded by walls defining courts. The route through the village is defined by stone walls and the pitched roofs of the houses located within the spaces defined by the stone walls. The proposed Albergue develops the same typology. 1. Plan of the hamlet of Transfontao, showing organization of the settlement in “pockets of landscape�, the Camino passing through and proximity of forest and agricultural land.
2. Early study collage of approach to the settlement by the Camino, showing the apparent solidity of the external stone walls.
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Sina Zekavat
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3. Section showing how proposal routes its self in the sloping topography. Tall, eucalyptus built timber volumes rest on dry stone walls that define both internal circulation within the building and external movement in the hamlet. 4. Plan of proposal and surrounding houses. The building is understood as four volumes, joined by the granite dry-stone walls, defining an irregular internal yard. The varying spaces enclosed by the stone walls allow for diverse levels of permeability: from cloister like semi exterior non insulated spaces and cross ventilated wet areas, to comfortable insulated interiors for sleeping.
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8 5. Model image showings how the various volumes together with the wall define the inner court. 6. Model image of approach to entrance and new public space. The new albergue allows room for a large existing tree just outside the stone wall, this becoming an area for pilgrims and people from the village to share.
7. Model image of proposal and its relationship with the settlement. The tallest volume, a large communal kitchen, becomes the tallest element identifying the reorganized community. 8. Image of existing condition and image of the proposed new paved path leading to entrance.
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9. Sketch of public space entrance to inner court.
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10. Sketch of interior court in use during the summer when, if needed, extra pilgrims can sleep in tents. During winter locals use these spaces to store hay.
11. View looking out towards the landscape from the upper level of one of the timber volumes for sleeping.
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12. Collage of proposal and its place in the hamlet. This view is seen when looking back at Transfontao when leaving following the Camino to Santiago.
Oca (6) Concello da Estrada, Pontevedra
Oca is currently not on the route of the Vía da Prata, but is a worthwhile deviation from it. Close to the river Ulla, not far from Santiago, there are many Pazos worth exploring. The Pazo de Oca is a great example of typical Galician manor house architecture – a noteworthy site both for its architecture and botany. Its origins date back to the C13, but much of what is visible today is the result of the transformation the property underwent in the C18, when the gardens surrounding the house were designed. Water is a central element, used in a precise way to irrigate the fruit orchards and gardens and as an aesthetic feature for recreation purposes. It enters the walled gardens from the highest point, where a long pond extends next to the garden wall. From this point water stars to descend, passing through a beautiful washing place, utilizing the drop in level to action a mill, to then widen into two large ponds. At the centre of these lies an unusual islet in the form of a boat, sculpted in stone, with the figures of two sailors. The paths, the terraces and the organization of trees, follow both a strategy of a working landscape and an aesthetic experience.
The main entrance to the property is defined by formal gardens. The everyday entrance used by visitors is from a small village green, a welcoming space organized around the public entrance to the Pazo’s Chapel and defined by a series of cottages, built to accommodate the workers of the Pazo’s land. Another informal open space is found to the north of the Pazo, in relation with the entrances to the ancillary buildings. The two public spaces meet in a “cruceiro”, the centre of a village.
Etienne Clement, Pazo Gardens, Concello da Pontevedra
de Oca Estrada,
Oca (6) Concello da Estrada, Pontevedra
Fiona Magar
Oca is located between the albergues of Bandeira and Ponte Ulla, 34 km apart, quite a long walk for a day, making it very difficult for pilgrims to have time to visit the Pazo and its gardens. This length could be split into two if and albergue was to be constructed in the village. This would also bring life to this rural area of A Estrada, an opportunity for regeneration of local shops and bars, providing useful services to the otherwise quite dense, but dispersed population which inhabits the land close by. The albergue reuses an abandoned house and some ancillary buildings located within a property to the north of the Village. The proposal originates from a deviation of the Camino, which will pass in front of these constructions when leaving Oca. The diversion will then follow the river Ulla until Ponte Ulla, rejoining the current Camino.
The proposal maintains the informal appearance of the rural property, as well as consolidating the basic means of construction of the ancillary buildings. The material language of the extension and of the new external paved area joining the various pieces is derived from the method of construction implemented in pigeon houses encountered along the way. This construction allows for a reduction of solar gain during the warmer months, when the albergue is mainly used, and facilitates natural drainage of the paved areas around the buildings. The combination of the granite permeable envelope and large internal sash windows develops a strategy for cross ventilation and thermal performance.
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1.Site model showing proposal for an Albergue in Oca and the context where it is located, the Pazo on the left, the Village Green and the second open space providing access to the Albergue. 2.Plan locating the hamlet of Oca within the landscape and showing the extent of the gardens of the Pazo de Oca, its forests to the south, the traditional small property land divisions and the disperse pattern of inhabitation to the north.
3.Existing condition of constructions found. In the image is visible the lareira, a large open chimney, and the Pazo de Oca in the foreground. 5.Massing model of proposal.
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4.Arrangement plan of proposal as a series of existing pieces and a new proposed volume, joined by granite stone paving. The layout allows for a second new extension if the albergue would grow in the future. The existing house is restored maintaining the structural walls and external appearance. Of the existing extension towards the street only the faรงade and the lareira are kept, defining a front yard that can be used for eating outside both by pilgrims and the local community. 5.Massing model of proposal.
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6.Interior photo of Oca house, no longer in use.
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7.Construction details of proposed dormitories. The external wall is a dry stone permeable granite wall controlling how light enters the interior. In the summer the large sash windows can be opened allowing for cross ventilation. The building will be covered with an extensive green roof.
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8.Plan, elevation and section of new dormitories. Within the volume various timber furniture pieces organize the various requirements. Two large ones provide wet areas and extra sleeping area if needed on one side and a separate bedroom and bathroom by the entrance. A series enclosed bunk beds give the pilgrim some space for their belongings and some privacy within the large space. 9.Collage of proposal looking from the entrance and showing the different elements along the main route through the site connecting the buildings and allowing them to work together as an albergue.
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Oca 1.David Phillips
2.Sanae Mizushima 3.Babis Konidis
4.Paulina Adamczyk 5.Fiona Magar
6.Tsuyoshi Wada
Calzada do Sar
(6) Concello de Santiago de Compostela
After walking up hill along the Cami単o Real de Angrois, out of a valley, the pilgrim will find a Cruceiro indicating a crossing of various paths. The Camino enters the Calzada do Sar. Walking on ancient black cobblestones, the pilgrims can contemplate for the first time the Cathedral of Santiago the Compostela and the historical city ahead.
Along the Calzada the pilgrims leave the rural Galicia which is still very present at the beginning of the Calzada, with the traditional individual houses, the small properties, the orchards and even hens, to then enter in the city of Compostela.
Joseph Little, cobblestones paving the Calzada do Sar, entrance to Santiago the Compostela
Calzada do Sar
(6) Concello de Santiago de Compostela
The proposal departs from the most characteristic aspect of the Calzada: the cobblestones. A sideway path is proposed along the length of the Calzada, next to the properties along the west side. This new granite pavement will only cross the Calzada to meet the proposed stairs leading to the City of Culture. The intention is to keep the character of this path, maintaining the cobblestones and the green bank, as well as providing a comfortable surface for pilgrims and residents to walk on. Adjacent to the sideway, the albergue sits in a vacant site.
It belongs to a long stone wall controlling views towards the busy Rua da Ponte do Sar and defining a new elevation to back gardens. The albergue is organized in two buildings: a small one, occupying the footprint of an existing house, where pilgrims get their stamp, reserve a bed and drop their rucksack to go and visit the Cathedral, and a larger one containing dormitories and communal areas open towards the Calzada.
Kazeem Abari
1.Existing constructions at the top of the Calzada.
2.Section exploring relationship from the Calzada and the Rua da Ponte do Sar. 3.Section exploring relationship between the Calzada, City of Culture and historic city centre.
4.Plan highlighting the structure of the historic city centre of Santiago de Compostela and the condition of the Rueiro: the Rua da Ponte do Sar leading out towards the landscape, moment in which the VĂa da Prata meets the City.
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4. Plan of intervention, exploring variations in geometry of the footpath for both local residents and pilgrims, maintaining the characteristic cobblestones. Using as a reference the arcades of some parts of the historical city, a roof is proposed above certain parts of the path, protecting the pedestrians from the sun and the rain. This device joins the series of new pieces used as albergue.
5. Site model describing the character of the Calzada in contrast with the Rua da Ponte do Sar. Early studies of how the proposal could confront the Calzada. 6. Proposed elevation to Calzada, showing the timber arcade and the two stone buildings that hold the Albergue.
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Calzada do Sar
Joseph Little
(6) Concello de Santiago de Compostela
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The Calzada do Sar is the entrance to the city of Santiago for the pilgrims arriving on the Vía da Prata. It is as well one of the Rueiros that leave the city to reach the countryside. In these spaces both the character of the city and the rural are present.
But the Calzada do Sar is also the edge of the Monte Gaías and will become the only pedestrian access to the already in construction City of Culture. The question that the proposal tries to address is how to protect the current character of the Calzada form the big impact that the City of Culture will have in this area.
The albergue is resolved in a long piece that echoes the linear experience of the Camino. The proposed building considers both the domestic scale of the Calzada and the qualities of the bank that defines one of its sides.
1.The proposal is understood as a long “gutter” that will protect the character of the Calzada do Sar from the masses of pedestrians that will inundate the Gaías Mountain when big events are organized in the City of Culture. 2.Photograph showing the rural charter of the Calzada with the city of Compostela in the foreground.
3.Plan and elevation of existing condition of the Calzada do Sar and the long bank that defines its northeastern side.
4.Section of existing cut above the bank, built as a construction road for the City of Culture and for drainage. The drawing illustrates the views towards the city that one sees from this terrace. 5.Early atmospheric exploration of cells accessed from a long space looking towards the cathedral.
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6. Model of proposal.
7.Section showing how proposal carefully deals with the delicate condition of the Calzada while defining a new public space in relation to the scale of the city and the GaĂas Mountain. 8.Construction section of proposal, conceived as a solid concrete shell acting as retaining wall, then occupied with oak timber inner rooms. The elevation to the Calzada is articulated with vertical solid oak timber battens supporting glazing of façade as well as the roof. 9.View of sloping proposed public space as seen from the city of Santiago de Compostela. 10.Roof plan describing the interaction between the stairs leading to the City of Culture and the proposed public space as well as the relationship between the small entrance courtyards to the albergue and the Calzada.
11.Plan describing distribution of programme along an linear axis. The albergues is entered from small courtyards that define entrance and becomes places for interaction between the local residents and pilgrims.
12.Long section showing the relation between internal stepped space and terrain. The building is organized in three wings: two blocks of sleeping facilities and wet areas and a third containing a large kitchen and communal spaces. This independently accessed part is located at the lowest end of the Calzada and can be used by the local community at times when the flow of pilgrims is low. 9
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Calzada do Sar (6) Concello de Santiago de Compostela
Riichiro Sakashita
In origin the Calzada do Sar was the entrance from the south-east to the city of Santiago for all goods and traffic. But the development of larger vehicles and motorization led to the construction of a new road, the Rua da Ponte do Sar, parallel to the Calzada. This has affected the character of this area of Santiago, with the smaller houses facing the Calzada at irregular angles and larger orthogonal plots perpendicular to the Rua da Ponte do Sar.
The proposal tries to organize an unbuilt plot of land that faces both the Calzada and the trafficked Rua da Ponte do Sar. The strategic move is to subdivide the space in the equal bands, with the albergue to occupy the one further south. The proposal allows for a pedestrian connection between the road and the Calzada in the form of a public staircase. Particular attention is dedicated to the visual relationship between the albergue and the cathedral, seen as ultimate destination of the pilgrimage. 1. Cast site model the Calzada do Sar organization.
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2. Site plan showing how the various constructions confront in different ways the Calzada and the Rua da Ponte do Sar. 3. Internal atmospheric image of shower, where pilgrims can contemplate, as they wash, their destination through a small window.
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4.Construction section through shower room and open space below. The building is conceived as an insitu concrete frame that is then clad with prefabricated concrete elements and slate stone. 5. Sectional elevation exploring faรงade construction and articulation based on the prefabricated concrete frame containing the slate stone infill.
Calzada do Sar
Tsuyoshi Wada
(6) Concello de Santiago de Compostela
Where the rural countryside leaves room for the first glimpses of the city, when the destination is within reach and the experience of pilgrimage is about to end, the tower of the albergue, visible from a distance before the pilgrims see the cathedral, marks an invisible border, a mental gate.
Here pilgrims pause to prepare mentally and clean themselves as a ritual to complete the journey in the best possible way.
A lower volume, in close contact with earth, contains all the facilities related to our body such as eating, cleansing and sleeping. All these are arranged in a ritual around a public washing place that is at the same time gathering place for the reformed community and beginning of a ritual of preparation.
The tower changes the whole landscape, not only by its own sculptural presence, but by its suggestion of a different world beyond. The room at the top of the tower is a destination for pilgrims to look back at the Camino they came from and collect their memories and ignite their emotions. 1.Drawing exploring the relationship and immediate contact between the historic city centre of Compostela and the surrounding countryside. 2.Model image showing its immediate context.
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3.Front elevations to Calzada do Sar. The albergue appears as a windowless solid mass with a narrow entrance to emphasize the sensation of height of the tower as one enters the internal courtyard.
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4.Section through the Calzada, communal facilities, washing area, bedrooms and the tower in the background. At the top the only window looking back at the Camino. 5.Plan of the proposal, showing how the various necessities are arranged around the washing area.
6.View of the albergue as it is approached from de VĂa da Prata. The proposed tower is the suggestion of a different world beyond.
7.Model image showing courtyard, circulation cloister and the various structural bays that house toilets, showers, bedrooms and other facilities for pilgrims.
8.Construction section through the sleeping range. The albergue is built as a series of in-situ structural walls supporting a roof slab. This allows for the internal elevation of the courtyard to be free from any main structural element. All the internal realms are defined with the use of horizontal timber lining identical in dimensions to the timber shuttering used vertically for the exterior concrete shell.
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9.Internal atmospheric image from the top of the tower looking back at the journey through the landscape.
San Lourenzo (7) Concello de Santiago de Compostela
When looking at the urban structure of the historic centre of Santiago de Compostela, the various Caminos arriving to the city from the countryside are clearly visible. This becomes a characteristic urban element of Santiago, the Rueiro, a prolongation of the urban street that penetrates deep into the rural areas. The Rueiros have allowed the city to reach the countryside and inversely are elements that have been able to preserve agricultural land right up to the edge of the former walls of the city.
All the various Caminos converge in the Cathedral, destination of the Christian pilgrimage. But another Camino, of more secular nature, begins here, leading out towards Finisterrre, what was believed to be the end of the world. Pilgrims reached the coast to collect a scallop, proof of their journey to the Atlantic Ocean. The quarter of San Lorenzo is structured along the Rueiro that has its origin in the Praza do Obradoiro and leads out onto the countryside and the valley of the Sarela river.
This stretch of Santiago de Compostela shows clearly this transition between the urban and the rural. Leaving the monumental square in front of the cathedral, one enters VĂa das Ortas configured around a tight urban structure of slim housed with large orchard stretching behind them. As we progress this condition continues in the Rua de San Lourenzo, until we reach the Carballeira de San Lourenzo, an ancient oak grove that marks the edge of the city.
Etienne Clement, a Praza da Quintana, Santiago de Compostela
Rua de San Lourenzo (7) Concello de Santiago de Compostela
Emmy Anjou
The Rua de San Lourenzo is conformed by a clear urban structure of tightly arranged houses that flank the street on both sides and long orchards stretching behind each dwelling. The proximity of these agricultural fields to the city centre results in incredible views of the historic centre. The proposal for the albergue places all the common facilities in a volume that occupies and empty plot between party walls and locates a series of smaller volumes making use of the length of the entire orchard. 4
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1.Massing model showing how proposal occupies the narrow plot of land facing the Rua de San Lourenzo.
2.Site plan of proposal and its relationship with the city structure of the street and the looseness of the agricultural landscape behind. 3.View of cathedral from agricultural land immediately behind the house.
4.Plans of proposal, conceived as one large house containing communal facilities and a house for the caretaker of the albergue, and a series of orrio inspired small volumes accommodating sleeping spaces and wet areas. 5.Elevation to Rua de San Lorenzo
6.Axonometric view of proposal explaining how the space between the volumes is used to grow vegetables.
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7.View of model.
8.Internal view of sleeping areas exploring the use of narrow windows allowing views towards the outside and the cathedral maintaining the privacy of the pilgrims. 8
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Carballeira de San Lourenzo
Concello de Santiago de Compostela
(7)
Amanda Thompson
The Carballeira de San Lourenzo is a mature oak grove found at the end of the Rua de San Lourenzo. The condition of narrow street defined by two storey houses leaves room to an open public space of oak tries and sloping topography. The Camino leading to Fisterra at this point abandons the street to enter the oak trees and follow the slope towards the valley of the river Sarela.
The Carballeira is characterized by a stone wall defining its western edge and the route of the Camino and an abandoned school built in the 1960.
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After the removal of the school, the proposal aims at reorganizing the space of the Carballeira by introducing a new paving for the Camino and by reoccupying the space of the school with oak trees following the existing pattern of planting.
The albergue is organized in four volumes that rest on a stone plinth understood as an extension of the repaved Camino.
The smallest volume acts as reception, the two placed at the lower level provide kitchen, bathroom and sleeping facilities. The central element is conceived as an open pavilion in the park, to be used both by pilgrims as communal area or by locals as a place to meet.
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1.Image of the current condition of the Carballeira de San Lourenzo.
2.Cast model showing proposal within the context of the Carballeira de San Lourenzo.
3.Series of sections exploring the relationship between the various parts forming the albergue and the Camino descending towards Sarela. 4.Internal image capturing the space of the open pavilion, a space open on all sides that can be used by both pilgrims and park users.
Carballeira de San Lourenzo
Concello de Santiago de Compostela
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Bikrant Pakhrin
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3 The albergue is organized in a linear building over two levels, inserted in between an existing stone wall and the oak trees of the Carballeira. The proposal therefore is a compromise of the geometry of these elements. All the services are pushed to the side facing the wall, allowing for a continuous communal space facing the park.
1.Image of area chosen for the intervention. 2.Image showing immediate relationship between albergue and
the space under the oak trees of the Carballeira.
3.Plan indicating how the Rua the San Lorenzo leads out from the city. The structure of the Rueiro, defined by densely organized houses, here leaves place to large portions of vegetation to enter the city.
4.Massing model showing how the proposal “rests� on an existing so that the building does not interfere with the space of the oak trees. 5.
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exploring the relationship between the proposed albergue, the existing boundary wall and the oak trees. 6.Plans of proposal, accommodating on the ground floor communal spaces for pilgrims and a small community centre that can be used by the local community. The upper level is dedicated to sleeping areas.
7.Elevations of proposal showing how the vertical articulation of the façade helps its integration with the context of the Carballeira.
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Carballeira de San Lourenzo Concello de Santiago de Compostela
(7)
Farrokh Aman
1 The proposal is understood as an abstract vertical volume placed between the oak trees. This intention led to a strategy of defining the openings as deep cuts allowing light and views but maintaining the apparent solidity of the oak clad volume. The plan is simply subdivided in two zones: one for stairs and services, the other for inhabitable spaces. This organizing principle is applied to the various levels, from ground floor entrance, to first floor communal areas and in the upper levels for sleeping.
1. Plan showing relationship between the Carballeira de San Lorenzo and the cathedral of Santiago de Compostela and how the city meets the landscape.
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4 2. Construction elevation and section showing steel frame clad in oak timber. 3. Cross section showing the various levels of the building and how the proposal relates to Camino. 4. Perspective view of the proposal approached from Camino.
5. Elevation of proposal understood as an abstract volume placed in between the oak trees.
Sarela de Abaixo
(7) Concello de Santiago de Compostela
Leaving the city behind, following the Camino towards Fisterra on a narrow road edged by high walls, one finds oneself almost immediately immersed in the countryside again. The valley of the river Sarela was a thriving industrial area in C18. Tanneries and mills that benefited from the energy of the river where located in this area. Today most of these constructions are ruins within an agricultural landscape sparsely populated.
The Camino climbs for a few hundred meters in the form of a narrow path lined with foxgloves and dense vegetation, reaching Sarela de Abaixo, a small settlement made of a series of new houses and some stone ruins. Here pilgrims can have the last glance at the Cathedral, before the Camino disappears again into the dense vegetation.
Etienne Clement, Sarela de Abaixo with Compostela in the background
Ponte Sarela (7) Concello de Santiago de Compostela
The site chosen for the intervention is an abandoned tannery in ruins adjacent to the river Sarela. The existing structure is organized in a series of constructions, varying in size and height that where used for the various phases of the tanning process. Of particular interest is how the ground condition is characterized by granite pieces conforming stone vats used in the tanning process.
Ian Burges
The proposal aims at preserving the existing constructions as a ruin, inserting a series of pieces to be inhabited by pilgrims. These pieces are conceived as light pieces that would rest on the heavy granite stone walls. To promote and preserve the lost industrial heritage of the area, the project also provides an opportunity for visitors to view the vats, as the new inserted pieces do not touch the ground. This allows for a ground floor continuous external space where pilgrims and visitors coexist.
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2 1.Model image showing approach to Ponte Sarela and how the new volumes are inserted in the ruins of the tannery. 2.Internal atmospheric image exploring the idea of a new construction within a ruin. 3.Plan of existing condition of tannery ruin, highlighting the relationship between the river Sarela and the various constructions. 4.Model image showing how the new volumes are placed within the existing walls of the tannery, preserving the existing constructions as a ruin. 5.Cross section defining communal and public spaces and how they sit within the structure.
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6.Upper floor plan showing the linear arrangement of the various part of the albergue. 7.Ground floor plan showing how this level is available for the public to explore. 8.Image of model showing spaces in between proposed volumes and existing walls. 9.View of model showing extent of proposal.
Sarela de Abaixo
(7) Concello de Santiago de Compostela
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Anna Demetriou
The chosen place for the new albergue in Sarela de Abaixo is the last moment where pilgrims see the cathedral before they continue their journey to Fisterra. The proposal is to divert the Camino directly to an existing stone house in ruins, avoiding a series of houses recently built. The diverted path is achieved thanks to a retaining wall extending to the stone ruins and becoming the albergue itself, with the intention of being an extension to the house achieved with a new stone construction.
1.Drawing showing the historical centre of Santiago, where all the Caminos meet, and the Camino that leads the pilgrims to Sarela de Abaixo and then to Fisterra. The drawing also shows the density of the city and how it changes from urban centre, to become houses, then farms and then open landscape.
2.Plan showing proposal and how trees are used as a way to define the space around the albergue and to shelter the view of new houses.
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3.Model showing how the retaining wall extends to the stone house becoming an extension to it.
4.Drawing showing the extent of landscape from Ponte Sarela to Sarela de Abaixo where the city of Santiago is currently developing the botanical gardens. The landscape strategy for the proposal is to define the area next to the albergue to be an extension of the botanical gardens by planting trees and vineyards.
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5.Axonometric showing the primary and secondary structure of the new concrete external walls with timber insertions for floors and roof. 6. Plans of albergue. The communal areas of the albergue are accommodated in the existing stone house. The new construction accommodates the dormitories for pilgrims. 5
7. Initial idea of bedrooms where each bed has its own individual window facing towards the cathedral. 8. Long section through proposal showing how timber lining is used in the albergue to include thermal insulation, except for the space where the Lareira is located left uninsulated. 9. Series of cross sections both through existing buildings and proposed extension.
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10.Model showing the proposed stretch of Camino passing in front of the albergue. 11. The construction of the new building is based on reinforced concrete walls with embedded granite stones, concrete floor and foundations, timber intermediate structure and timber roof. The new construction is built in the same way as the old stone house but in a contemporary way.
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12. Elevation of the albergue showing the new construction as an extension to the old stone building.
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Sarela de Abaixo (7) Concello de Santiago de Compostela
Sanae Mizushima
The proposal in conceived as two light volumes contrasting with the heaviness of the found stone ruins. The new volumes are placed as if they were looking back. This is the last moment pilgrims can see the cathedral. 1.Study of the conditions of the existing ruins.
2.Plan of the city of Santiago de Compostela highlighting the various routes arriving to the city and grouping in the cathedral. From here one route leads out in the landscape towards the sea at Fisterra. 3.Sketch of the view of the cathedral as seen from Sarela de Abaixo. 1
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4.Survey sketch exploring the journey along the Camino from the cathedral to the location of the project.
5.Plan showing the relationship between Sarela and Sarela de Abaixo and how the place chosen for the proposal sits in between the two settlements.
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7.The upper volume is thought as a two storey construction, the top floor being used by locals as meeting place with views towards the historic city.
8.The lower volume is long wing used by pilgrims for sleeping. The stone house is refurbished to contain all communal facilities. 9.Cross section exploring the relationship between existing stone structure and proposed steel frame sleeping areas.
10.Model image showing how volumes appear as windowless from the street, emphasizing their intention of looking towards the cathedral.11.Cros section through higher volume and proposed courtyard.
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12. View of the albergue portraying how the proposed volumes address the view. Great care is given to the definition and rhythm of the glazed faรงade, as this will be clearly visible from Santiago de Compostela.
13. Construction section, plan and elevation of sleeping area. A concrete structural plinth, clad in granite stone, supports the metallic structure, lined in timber and clad in Cor-ten steel. The metallic envelope extends out, revealing a very slim profile and emphasizing the lightness of the volume. The beds are part of the structure, allowing for very slim columns on the glazed side for an interrupted view.
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14.A last glimpse of the Cathedral from one of the beds.
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1.Drawing Landascape: AVA workshop with Arthur Smart
2.Unit meeting in Pension San Nicolรกs, Santiago, first trip to Galicia. 3.Photographic session with Etienne Clement.
4.Presentation in Santiago with Xacobeo and Consorcio de Santiago, second trip to Galicia. 5.AVA final jury.
6.Praia do Rostro, Fisterrra, second trip to Galicia. This page. Images from end of year exhibition.
Etienne Clement, unit g contemplating the facade of the Santiago de Compostela Cathedral, the final destination of our pilgrimage
Etienne Clement, unit celebrating our arrival to final destination.
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Following page, Tsuyoshi Wada, Xoan XXIII by Pi単on Viaplana, Santiago de Compostela.
Ista historia cóntana por alí pra bulrarse dos que buscan e soñan tesouros. Cando ma contaron eu retruquei cunha inventada por min, na que un home que sabía que había un tesouro onde chnaban Penabranca e non atopando iste lugar, mercou unha fanega de monte e na escritura púxolle Penabranca a aquela parcela e pedíalle a todos que lle chamasen Penabranca ó sitio, e pasados algús anos, e cando xa o de Penabranca estaba en todos e ninguén lle chamaba de outra maneira, foi alí e cavou i atopou un tesouro. O tesouro de Penabranca que il sabía que había en Penabranca. Alvaro Cunqueiro, Tesouros novos e vellos.
...in which a man, who knew there was treasure in a place called Penabranca and not finding the hiding-place, bought an acre and a half of hillside and on the deed put Penabranca, and asked everybody if they would call that place Penabranca, and a few years went by and when Penabranca was in everybody’s head and nobody called it by any other name, he went there and found the treasure. The treasure of Penabranca which he knew was in Penabranca.
Alvaro Cunqueiro, treasures and other magics
between city & landscape
unit g
university of east london