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Sumit Singhal
Sumit Singhal
Sumit Singhal loves modern architecture. He comes from a family of builders who have built more than 20 projects in the last ten years near Delhi in India. He has recently started writing about the architectural projects that catch his imagination.

EL “B” in Cartagena, Spain by SelgasCano Arquitectos

 
June 14th, 2012 by Sumit Singhal

Article source: SelgasCano Arquitectos

El “B” is this long construction, a body, that feeds on the heritage -the continuity- of a site’s treatment: THE Cartagena harbour, which is nothing but a harbour in Cartagena, borderline of the city from the sea. Everything here belongs to it, belongs to the port, any port we should say: the immaculate straightness of the pier edge (straight), the invariably calm sea (flat), the artificially horizontal plane of the dock (flat), the sky as the variable background for this plane (plane on a plane?), all based on an artifice to represent the simplest -and by virtue of its simplicity, the most natural, the most immensely artificial- plane that equates to the most natural.

Image Courtesy Iwan Baan

  • Architects: SelgasCano Arquitectos
  • Project: EL “B” Auditorium
  • Location: Cartagena, Spain
  • Site Of The Building: Paseo De Alfonso Xii Sn 30202 Cartagena
  • Owner: Cartagena Council
  • Date Project Completed:  November 2011
  • Desing phase: 2002-2004
  • Construction phase: 2006 – 2011
  • Total Square Footage: 18.500 m2  

Image Courtesy Iwan Baan

  • Site Area:  5628 m2
  • Number of Floor Levels: 2
  • Budget: 34.5 euro millions
  • Project Architect: Jose Selgas, Lucia Cano
  • Architecture Project Team : Lara Resco, José de Villar, José Jaraiz, Lorena del Río, Blas Antón, Miguel San Millán, Carlos Chacón, Julián Fernandez,  Beatriz Quintana, Jaehoon Yook, Jeongwoo Choi, Laura Culiañez, Bárbara Bardín.
  • Photographer: Iwan Baan
  • Interior Design Firm name (for publication): selgascano
  • Architectural Assistant: Antonio Mármol, Joaquín Cárceles, Rául Jiménez.

Image Courtesy Iwan Baan

The Alfonso XII dock is 1,000 metres long, exactly a kilometre, where we can assume that we are at the end. A 20 metre wide strip runs the full length, parallel to the edge, which is respected by the buildings. A very pleasant walk can be designed for the city along this strip, a daily procession following the immutable edge. In fact, this promenade is what we encourage; it is what we insert in the building, in a dimensional continuum that seems to dig out an artificial beach, but is actually a continuity of history, because the old El Batel beach was right here, on this very spot. The harbour is artificial, not the beach.

Image Courtesy Iwan Baan

This reclaimed beach-ramp gradually submerges us below the waterline, with the pier’s horizontal line as a constant reference. At this point we cease to belong to the outside world and start to belong to ourselves, ourselves in movement, ourselves strolling, working on the 210 metre scale reserved site for ourselves. We have worked on the contrast with the outer facade produced by the cut at ground level, and we continue to make use of the dictatorship of the dock, but precisely in opposition to it.

Image Courtesy Iwan Baan

We refuse include the harbour’s beautiful orthogonal monotony; we exclude the hardness of the port from the interior, and instead, we seek something that is  completely the opposite: translucent, delicate, light, aquatic; something that has to do with what Luigi Nono defined as “a space for water music”.

Each component and detail of this project is another project in itself, but, as each project, acting in obedience to its surroundings, all belong to both a whole, not sought, but deduced, which is what shapes the character of El “B”.

Image Courtesy Iwan Baan

All the material, both aluminium and plastic, is manufactured from a single extruded section, varied in placement and colour to give the appearance of multiple pieces. These pieces are all set parallel to the pier edge to underscore the idea of ​​horizontality and achieve an even longer rectangle than it already is, in this case extruded like a “churro” (wrinkled doughnut), only on its immediate scale: overall, it seems to be the result of an accumulation of different components, stacked neatly on the pier. The memory of a former use.

Image Courtesy Iwan Baan

Outwardly and also inwardly, this is an extremely false complex, one set as the antagonist of the other, like people who seem to be very quiet but are actually paralyzed by the continuous movement of their central nervous system. Their antagonism is clearly evident in the coexistence of the upper and the lower floors, a perfect example of anacoluthon: there is no agreement between them. Their only connection is that both thrive on the harbour, because, we insist, the entire project thrives on the idea and the memory of a harbour; what happens here now and what used to happen here.

Image Courtesy Iwan Baan

Image Courtesy Iwan Baan

Image Courtesy Iwan Baan

Image Courtesy Iwan Baan

Image Courtesy Iwan Baan

Image Courtesy Iwan Baan

Image Courtesy Iwan Baan

Image Courtesy Iwan Baan

Image Courtesy Iwan Baan

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Category: Auditorium

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