Built by a Genoese pirate in the sixteenth century, this palace located in the old town of Palma de Mallorca, was partially burned during an intentional fire: the idea was to scare away its rustic owner – an Italian corsair, considered persona non grata in the city of Palma-.
It was completely redesigned with the aim of reflecting Sapey’s personality, a space tailored to her tastes without having to follow the restrictions that she normally face with her clients. One of the daring things was to paint the walls with strong colors, which in a 16th century building was quite daring. It was the perfect moment to express the creative and artist soul of the architect, who since childhood dreamed of being an artist. Until this moment, she had never been encouraged to express her most pictorial and vivid side that in this space does not fall in the architectural expression but in the use of color. It is a praise to the magical island of Mallorca and its Mediterranean colors: the acid yellow of lemons or the warmest of the sun. The blues, not only of the sea, but also of the sky. The green color is also present, an attempt to create a kind of greenhouse with Romanesque windows in the background. It was clear from the beginning that the traditional elements of the palazzo would be maintained, its high ceilings, wooden floors and large windows.
Article source: OHLAB / oliver hernaiz architecture lab
This house looks for the maximum energy efficiency adapting itself to the program, the solar orientation, the views and the slope of the terrain.
The project optimizes the program grouping it in four boxes –kitchen, living-dinning, main bedroom and guest bedrooms- which can be used together or independently. Each box is placed carefully on the ground and rotates on its axis with precision to find the best views and orientation for their use. The bedrooms face the East, the garden and the Bellver Castle; the living and dinning room face South-east, the sea and the garden; the kitchen faces South and the vegetable garden; and in the attic over the living room, the terrace looks towards the view of the sea and its big window over the living room faces South allowing the winter sun to warm the main space of the house while the eaves of the roof protects from the summer sun.
Casal Balaguer is a palace of the historic center of Palma, a flood over the centuries family home, starting in 1300, then in 1500 and finally in 1700, which now loses its household to be a public building, a cultural center for the entire city. To value the times contained in the building, without taking physical distance with the historical stages that have shaped its qualities, allows us to act without departing from him: if observation do not distinguish times, the action must not have distances.
Project date: 1996 First partial project for the roof; 2001-2003 Second global project for the building.
Construction date: 2009-2010 First phase; 2011-2013 Second phase; 2014 – Third phase under construction.
Promoter: Ayuntamiento de Palma.
Area: 2500 m2
Program: Complete rehabilitation of a baroque Palace of Palma as a Cultural Centre, House Museum and Library specialized in art.
Archaeological advisers: Grupo Arqueotaller (Roser Pérez, Margalida Munar, Magdalena Salas)
Historical Research and Documentation: Ma. Dolores Ladaria.
Analysis of materials: Lend Consulting.
Structures: Fernando Purroy.
Collaborators: Caterina Anastasia, Ankur Jain, Els van Meerbeek, Cristian Zanoni, Carlos Bedoya, Guido Fiszson, Ellen Halupczok, Julia Taubinguer, Paula Ávila, Nicolás Chara, Eugenia Troncoso, Israel Hernando, Hernán Barbalace, Benedikte Mikkelsen, Mar Garrido, Celia Carroll, Jorge Casajús, Juan Membrive, Oriol Valls, Tanja Dietsch, Sergi Madrid, Sergio Muiños, Lucas Wilson, Anna Reidy, Maria Amat Busquets, Fabrizia Cortellini, Veronica Baroni, Elvire Thouvenot, Carlotta Bonura, Francesca Tassi-Carboni.
Tags: Palma de Mallorca, Spain Comments Off on Cultural Centre Casal Balaguer in Palma de Mallorca, Spain by Flores Prats Arquitectos & Duch-Pizá, Palma
Instead of the image of an hermetic pavilion, here the intention is to give continuity from the inside space to the outside one.
The building is implemented to bury the court and the locker rooms. The schema allows to go through, without visual barriers, from the park to the covered platform, to the stands, and finally descending to the court.
In judo, virtuosity is achieved by profiting from the power of the contrary in our benefit. The plot is located beside a highway. In this position is usual to generate some type of protective parameter which separates us from it. Here, instead of rejecting this particular situation, we collect it in our profit, as in judo.
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