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Hotel Arc del Teatre
Hotel Arc del Teatre
50, Carrer de l'Arc del Teatre, Barcelona, Spain
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Other Projects by EQUIP Xavier Claramunt
Hotel Arc del Teatre
50, Carrer de l'Arc del Teatre, Barcelona, Spain
Type
YEAR
2011
SIZE
500,000 sqft - 1,000,000 sqft
BUDGET
$10M - 50M
Ladies and gentlemen, boys and
girls, friends and acquaintances, police and thieves, candidates for mayor and
entrepreneurs, etc. and etc., the city still puts on quite a show. Struggling
insolently with the prevailing imperative of sobriety and economy of resources,
we are presenting an outrageous and
exhibitionist building.
Looking back over history, it turns
out that in a street very close to Paral·lel, but well within the maze of
streets known as the Raval, and particularly known as “Barrio Chino”, there
once stood a lofty theatre. This building, greatly frequented by the public,
has made it this far in the form of a decrepit ruin that now spends its days precariously
propping up a facade and the occasional, and by-now forgotten wall, doubling as a
den of unseemly and unhealthy, albeit utterly natural-looking, activities. Not
completely unexpectedly, its apparent uselessness, immorality or problem, has
been seen as the opportunity to
build a new hotel which is not clear whether it is supposed to entice or house
the tourists, necessary or inevitable, that arrive in the city of Barcelona.
And on the subject of the building, two classic strategies are initially applied:
listening to the place and asking the user. To further define this generality,
we would say that one listens to the place with one's ears and talks by building between two
walls. In other
words, the decision was taken to preserve a historic facade, despite the fact
that it is not officially protected, and to insert the building between it and
the party wall of the adjacent building. The new building treats the rooms as if they were shelves, using wells, a resource borrowed from the
selfsame historic buildings of the highly compact old district to afford a
dramatic ambience to the common spaces, which are located below street level.
The relationship of the neat and static facade which would yield, and does
yield, a programme of conventional rooms, with the other facades in the area is
imbued with a certain complexity and change, using a huge wrap that reflects the changing light of dayon the facade of the new building.
These decisions are all about space,
but they are also about integration. Being very sombre and direct, we would
have to say that the facade is conserved as a memory of the building that once stood there, but also as a tool for negotiating with the
regulations and securing permission, yes sir right away yes sir, making it
possible to recess the building on the
ground floor, form a porch and
open up an inner patio inside the utterly dense maze of streets in the area.
Working thus with the legislation will render it possible to locate rooms on the ground floor, in turn
solving the conditions of privacy with peculiar clustering systems, with light
entering radically and split-level floors.
The aim of the huge wrap covering
the facade is for the building’s appearance to change during the day both from
inside the rooms and from the street, while lighting conditions also vary on
the inside and on the outside. It is a commitment to integration
with the variety of the
surrounding buildings. The sobriety and seriation called for by economy of
resources applied in the construction of this building is granted a degree of
variety by this huge wrap, which will change with the seasons and will filter
the natural light of day differently to the artificial night-time light.
Asking the user,
the new hotel has two different miens depending on whether you are in the room
or in any one of the common areas. The public areas in the building, below street level, are
treated heterogeneously to generate
cosy corners and different ambiences. A variety
of forms, colours and furniture is offered, as an extension of the street-level dynamismthat is not actually within sight.
And on the contrary, the rooms are
imbued with sobriety to make for
easy adaptation to the tourist's
decisions. From the inside of the room a direct visual relationship is established with the street
through the shower area, located on the facade, and the huge wrap which, with
the help of vinyl, protects it from the eyes of the street.
The hotel, albeit a place of rest
for the tourist, seeks to remain ultraurban, peppering the inside with a dose of the outside, with objects and combinations in the public areas and views of the street from the
rooms, hence the
building is akin to a door onto the street and, in turn, onto the hidden,
private and heterogeneous parts of a historic district.
girls, friends and acquaintances, police and thieves, candidates for mayor and
entrepreneurs, etc. and etc., the city still puts on quite a show. Struggling
insolently with the prevailing imperative of sobriety and economy of resources,
we are presenting an outrageous and
exhibitionist building.
Looking back over history, it turns
out that in a street very close to Paral·lel, but well within the maze of
streets known as the Raval, and particularly known as “Barrio Chino”, there
once stood a lofty theatre. This building, greatly frequented by the public,
has made it this far in the form of a decrepit ruin that now spends its days precariously
propping up a facade and the occasional, and by-now forgotten wall, doubling as a
den of unseemly and unhealthy, albeit utterly natural-looking, activities. Not
completely unexpectedly, its apparent uselessness, immorality or problem, has
been seen as the opportunity to
build a new hotel which is not clear whether it is supposed to entice or house
the tourists, necessary or inevitable, that arrive in the city of Barcelona.
And on the subject of the building, two classic strategies are initially applied:
listening to the place and asking the user. To further define this generality,
we would say that one listens to the place with one's ears and talks by building between two
walls. In other
words, the decision was taken to preserve a historic facade, despite the fact
that it is not officially protected, and to insert the building between it and
the party wall of the adjacent building. The new building treats the rooms as if they were shelves, using wells, a resource borrowed from the
selfsame historic buildings of the highly compact old district to afford a
dramatic ambience to the common spaces, which are located below street level.
The relationship of the neat and static facade which would yield, and does
yield, a programme of conventional rooms, with the other facades in the area is
imbued with a certain complexity and change, using a huge wrap that reflects the changing light of dayon the facade of the new building.
These decisions are all about space,
but they are also about integration. Being very sombre and direct, we would
have to say that the facade is conserved as a memory of the building that once stood there, but also as a tool for negotiating with the
regulations and securing permission, yes sir right away yes sir, making it
possible to recess the building on the
ground floor, form a porch and
open up an inner patio inside the utterly dense maze of streets in the area.
Working thus with the legislation will render it possible to locate rooms on the ground floor, in turn
solving the conditions of privacy with peculiar clustering systems, with light
entering radically and split-level floors.
The aim of the huge wrap covering
the facade is for the building’s appearance to change during the day both from
inside the rooms and from the street, while lighting conditions also vary on
the inside and on the outside. It is a commitment to integration
with the variety of the
surrounding buildings. The sobriety and seriation called for by economy of
resources applied in the construction of this building is granted a degree of
variety by this huge wrap, which will change with the seasons and will filter
the natural light of day differently to the artificial night-time light.
Asking the user,
the new hotel has two different miens depending on whether you are in the room
or in any one of the common areas. The public areas in the building, below street level, are
treated heterogeneously to generate
cosy corners and different ambiences. A variety
of forms, colours and furniture is offered, as an extension of the street-level dynamismthat is not actually within sight.
And on the contrary, the rooms are
imbued with sobriety to make for
easy adaptation to the tourist's
decisions. From the inside of the room a direct visual relationship is established with the street
through the shower area, located on the facade, and the huge wrap which, with
the help of vinyl, protects it from the eyes of the street.
The hotel, albeit a place of rest
for the tourist, seeks to remain ultraurban, peppering the inside with a dose of the outside, with objects and combinations in the public areas and views of the street from the
rooms, hence the
building is akin to a door onto the street and, in turn, onto the hidden,
private and heterogeneous parts of a historic district.
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