Bar nou offers on its menu Pa amb tomaquet (bread with tomatoes), a typical catalan dish presented in a contemporary manner. According to this, one of the demands of the clients consisted in combining contemporary design with traditional approaches. Since its importance is capital for the bar’s identi- ty, a dj-booth looking altar devoted to its preparation has been designed and placed at the core of the space. There chefs play, as if they were the new dj’s, their role of pamtomaquers under a brand new vaulted scenography.

Besides the space, the project has also developed the design of the interior elements including furni- ture and lights. Both the chairs and tables introduce common materials in domestic tradition, such as cattail or mirrors. With regard to lighting, three complementary typologies have been designed. With urban scale in mind, the project uses figurative neon lights to emphasize its presence in a busy and crowded crossroad. Meanwhile, the interior suspended lamps consist of a pivoting metal tube arm that allows them to adapt to the changing position of the tables and in turn draws from outside a constel- lation of points in permanent modification. Additionally, three legged lamps provide a domestic and atmospherical light.

Text provided by the architects.

The proposal recovers the volume of the original cover, gable, based on traces marking the slabs that solved the game of it with the front wall. You do not get to reconstruct the entire volume, thus emphasizing the character of the park open unfinished piece. For floor heights are taken as valid marking the original access and support traces the floor structure. It recovers, in part, the original topography on the north side to facilitate, now, accessibility and livability of the building. The walled hollow this facade are occupied, the new project, wooden boxes projecting outwards. To these it can be accessed from a platform that is installed as a lookout in the park. This arrangement allows a permeability which establishes a direct relationship between the building and the outside suggests various possibilities of use.

Text provided by the architect.

The concrete layers divide the brick walls and articulate the internal organisation of space. The walls are made in used brick with articulated bulging joints. This create a tactile surface which captures light and shadow. Chalk is added to the mortar to give the joints a more white color. The desired color and texture are the result of making on site samples of brickwork. (Actually we tried a few experiments ourselves to find a good result) The precast concrete units are made on site, in a white cement based concrete to match the colour of the masonry joints. The bricks are recuperated from an old demolished factory building in the neighbourhood. To achieve the wall texture we asked the masons to let the mortar bulge out between the stones. Then they used a dry brush or their hands instead of a trowel to remove the redundant mortar on the joints. This required a specific sensitivity and skill from the masons to achieve a consistent result for the whole building.

Inside, the house and workshop creates a centrifugal circuit of rooms around a central core . The spatial flow of rooms follows the rhythm of the occupant. The circulation is done in a functional manner with a minimum loss of useful space. Each room has its own identity through the different changing light , views and variety in length and width.

The upper rooms and workshop are pleasantly illuminated. The light reflects on the whitewashed plywood ceilings and beams . The seemingly closed facades each generate light and open interiors. The interior material pallet consist of a natural sand/lime render, polished concrete and white oiled plywood and beams. The lime render is mixed with fine sand and an amount of marble dust which results in a rougher texture and a subtle variation in colour. The walls stay unpainted.

Text provided by the architect.

The facade consists of large frames, in exotic wood, which are alternately fixed or sliding. Masonry planters are arranged on R+1; the trees and plants, once the windows are open, thus enter the habitat and allow you to concretely feel this garden while looking at the sea. Taking advantage of the favorable climate and the configuration of the existing building, the house benefits from freshness in summer and a greenhouse effect in winter (closed atrium). The interior and exterior co-produce this Mediterranean architecture.

Text provided by the architect.

In 2011 the lake was drained to carry out major works to clear silt and repair the banks. We identified a location for the fishing hut at the southwest corner of the lake that provided easy access from the riverbank and optimum views along the lake and river. We installed 18 precast concrete drainage rings at 1.8m centres on the lakebed and filled them with concrete to form pad foundations before the lake was refilled.

The building was constructed on its pad foundations between April and September 2014 without re-draining the lake. Nine galvanised steel goalpost frames are fixed to the pad foundations. The steel frames support the timber floor structure and the glue laminated oak superstructure. The roof is made of softwood rafters, clad internally with oak boards and externally with profiled aluminium sheeting.

The building’s structure divides into ten bays of 1.8m. A pair of bays at each end form open decks, partly covered by the overhanging pitched roof. Below the eaves shutters and cladding formed of open jointed timber planks enclose the six central bays. This enclosure comprises a weather tight internal space of four bays and a semi-enclosed storage area. The first bay of the internal space contains an entrance lobby, WC, kitchenette and dining area. The other 3 bays form an open plan area enclosed by sliding glazed screens. The storage area beyond contains a loft for boat storage, an external shower and a covered mooring with a removable floor and water gate.

In its closed state the pitched roof form and handling of the cladding materials refer directly to the construction of modern agricultural buildings. The exposed timber structure and cladding is made of oak. We chose this native species for its durability and characteristic colour and grain. The untreated exterior timber will weather to match the silver-grey colouring of the roof cladding and steel supports.

Along the sides of the building we sought a form of shutter that gave the least visual intrusion on the continuous horizon. By horizontally pivoting the shutters upward from the eaves the enclosure disappears, leaving you on a deck above the water beneath the pitched roof. In contrast to the exterior, the timber of the enclosed interior will retain in its warm golden tone, which is revealed and reflected in the water as the perimeter shutters are opened.

Text provided by the architect.

The extensions and the new interior building elements are mainly simple wooden constructions and reiterate the dimensions and rhythm of the original pump stations’ concrete relief. This creates a direct link between the old structure and the new, while adding a new material and another texture that is pleasing to the touch. With this detail, the cladding and the main structure become one, reducing the complexity of the building, which is reflected in the budget as well as the final expression.

Myhrwold and Rasmussen engineered the original pump stations from 1966 to be unsentimental and raw in their materiality, and the vertical relief of the concrete façades reminds us of the surrounding ploughed furrows of the fields, and profiles of the soil that control the run of the river. By building on this motif the anchoring of the buildings into the surroundings and the history of the site is strengthened.

Text provided by the architect.

The museum tends to form an innovative artistic spatial atmosphere through the comparison between the roughness of the cast-in-situ concrete and the exquisite space formed by the paralleled barrel vault structure. The barrel vault structure implies an integration of inside and outside, while perfectly integrating into itself the lighting system.As for circulation, the lobby (exhibition hall) connecting the square, to which the barrel vault structure directs, marks the prelude of the spatial sequence. With a helix movement the visitors ascend, layer by layer, in the enclosed structure, and ultimately reach the exhibition room on the top floor, where the prospect of Feng Mountain suddenly burst into through the opening and the orientation of the structure is also in line with the view. Thus not only a spatial trilogy has been accomplished, but the structure orientation has firmly linked and directed to the landscape.The south façade of the museum was also disposed as a series of slightly concaved curve, as if it were the external extension of the inner vault structure, constituting the frontality of the museum towards the square.

Combining the museum lobby with cultural and creative space such as café and art store, a unique place of entrance comes into being with the reservation of historical heritage to its full extent, involving an obsolete boiler, a grand tree, a bathroom and previous boiler plants. The terrace of the lobby is thus given the form of a bleacher, becoming a possible stage for potential public events in the future.

Text provided by the architect.

The structure is very linear and severe, on the contrary the plan seems to be moved by the medieval façades of the surrounding, taking the scheme of a deformed hexagon.

The final shape gives to the architecture a touch of the memory of the place.

Text provided by the architect.