The small program of the Cultural Center (library and classrooms on the ground floor, exhibition with conference room on the top floor) is solved on two floors. The rotation of the communication elements (elevator and stairs) nuance and tension the accesses to which, while leading the light to the lobby. The room, divisible by mobile partition, compromises a truss that, fixing the sliding of it, significantly increases the size of the space, thanks to a change of scale in the triangulation seen of its bars. Two limited rooms look like a big ship. The color (treatment of the plans in a very plastic way) is essential to consolidate these effects in the room and serve as a reference in the building.
3rd Award- Global Future Design Awards 2020
Firm | Eduardo Miguel González Fraile
Architect/Designer | Eduardo Miguel González Fraile
Category | Cultural Built
Team | Eduardo Miguel González Fraile
Country | Spain
Photographer/Copyright | ©Eduardo Miguel González Fraile
The Center is a reference, in Valladolid, when the dimensions of the plot and the buildability are meager. As it was a public building, it was necessary to give a spatial idea and a purely superior fit. The City Council has organized municipal exhibitions on civic centers.
The fact of achieving maximum space for meeting rooms, gymnastics, conferences, etc. has shifted vertical communications to the corner, conditioning the union between the two streets and manifesting to the exterior in the form of a large glass dihedral of the height of the whole building. The condition of double height, that is, of monumental scale, as befits a cultural and public building, is perceived outside, but also since the access is crossed, since the volume of the elevator is individualized as exempt and as a vertical red landmark, indicative of the movement. Built the corner with the staircase, the facades fragment, subtracting the general plan of the upper floor of each facade, thanks to its separation, with hollows (bands and streets), from the brickwork. Thus appear second facades, cards that want to escape the general volume and integrate into the other urban walls. Each connected facade body has different colors: yellow ochre on the front of the main street, on a canopy that makes connotation of the entrance door, and gray on the secondary street, to establish a strict neutrality.
The interior itineraries and routes follow series of very pure and contrasting colors, assuming the system of color squares, visual correlations and focality of the route already from the first landing of the staircase. When you reach the upper floor, a large bellows slide allows you to integrate or divide the entire space. To do this it was necessary that the top guide, mounted on the lower cord of the metal truss, did not have the slightest deflection, guaranteeing the proper functioning of the slide. To avoid the deformation of this guide it has been necessary to build the metallic armor, rose-colored and violet-colored that, with its great edge and its X.shaped crosses (Saint Andrew’s cross), prevents the smallest movement that hinders its manipulation. This innovation becomes, de facto, the representative image of the interior and allows total continuity because its vertical wall section is made of glass.