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Oliva Artés Museum

I. SUMMARY INFORMATION
Project
301932
Status
Submitted
Award category
Regaining a sense of belonging
You want to submit
NEW EUROPEAN BAUHAUS AWARDS: existing completed examples
Project title
Oliva Artés Museum
Full project title
Oliva Artés Museum
Description

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

What was the geographical scope of your project?
National
Spain
Does your project address mainly urban or rural issues?
Mainly urban
Does your project refer to a physical transformation of the built environment or other types of transformations?
It refers to a physical transformation of the built environment ('hard investment')
Has your project benefited from EU programmes or funds?
No
Has your project won an EU prize?
No
Your project is fully completed?
Yes
When was your project implemented?
How did you hear about the New European Bauhaus Prizes ?
Word of mouth (colleagues, friends …)
On whose behalf are you submitting the application?
As an individual
II. DESCRIPTION OF THE PROJECT
Please provide a summary of your project

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please indicate the main themes of your project with 5 key words
History
Collective memory
Contemporary
Industrial past
Tranformation - to recicle
Please give information about the key objectives of your project in terms of sustainability (including circularity) and how these have been met.
Please highlight how the project can be exemplary in this context

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please give information about the key objectives of your project in terms of aesthetics and quality of experience beyond functionality and how these have been met.
Please highlight how the project can be exemplary in this context

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please give information about the key objectives of your project in terms of inclusion (equal opportunities, public participation, citizen engagement, co-design, universal design, accessibility, affordability, etc.) and how these have been met.
Please highlight how the project can be exemplary in this context

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please explain how these three dimensions have been combined in your project.
Please highlight how this approach can be exemplary

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please give information on the results/impacts achieved by your project in relation to the category you apply for

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please explain how citizens and civil society were involved in the in the design and/or implementation of the project.
Please also explain the benefits that derived from their involvement.

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please explain what kind of global challenges the project addressed by providing local solutions

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please highlight the innovative character of the project as compared to mainstream practices in the field of the project.

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Please explain to the potential of transferring the projects’ results or learnings to other interested parties and contexts.
Please provide clear documentation, communication of methodology and principles in this context.

The project, due to the economic reality it has faced, has become a sequence of small provisional interventions which, little by little, end up forming the final project. The project, even though it is far from being the original one because it was conceived all at one, acquires a certain complexity due to its own precariousness and disorder, building a new way of rethinking this kind of interventions.
The existing building, which was part of an old factory from 1920, contained some fascinating interior brick textures, probably more interesting than its exterior facades, which historically had had other volumes attached.

The original project is still preserved in some fundamental ideas. All the elements that were necessary for the good functioning of the museum are attached to the exterior of the building: the elevator, which reminds us of the chimney the factory never had, lineal stairs, provisional restrooms and even a generous entrance porch which opens to the park without modifying the original architecture. A small café will allow domestic management of the museum and will serve the users of the park. The staircase, which was initially planned to occupy the central space with a certain protagonism, is placed in a corner near the cafeteria, trying to occupy as little space as possible.
All the pieces are finished in iron plating of a certain golden tone, which somehow alludes to the past epoch in which the factory was originally built.

Is an evaluation report or any relevant documentation available?
No
If you would like to upload additional documentation, please upload it or write it below
III. UPLOAD PICTURES
IV. VALIDATION
By ticking this box, you declare that you are not in in one or more of the exclusion situations foreseen under Article 136 of the Financial Regulation.
Yes
By ticking this box, you declare that all the information provided in this form is factually correct, that you assume sole liability in the event of a claim relating to the activities carried out in the framework of the contest, that the proposed project has not been proposed for the New European Bauhaus Prizes 2022 in any other category or strand and that it has not been subject to any type of investigation, which could lead to a financial correction because of irregularities or fraud.
Yes
By submitting your application, you guarantee that you are the author or have the rights to proceed with the application and to authorise the use of the project, concept, idea, and that you have obtained any necessary consents, licenses or assignments from third parties and included copyright notices when necessary.
Yes
By submitting your application, you understand that all the applications that meet the eligibility requirements will be shared for the purposes of the selection processes, and notably published on the secured platform https://prizes.new-european-bauhaus.eu/ and for the purposes of the promotion of these on the New European Bauhaus website and/or other European Commission communication channels. In this sense, the applications would be widely available. Applicants should ensure that they present their ideas, concepts, projects, in such a way that they could be shared without giving rise to intellectual property related concerns. If your submission is selected as one of the finalists, it will additionally be shared for the purpose of the public vote that will take place. The European Union is granted a licence to use and share your application with the general public and the official external experts for the purposes of the selection process, including the voting. The European Union has the right to use the images and visual materials and the description provided in the application for communication purposes related to the contest and beyond. Rights granted comprise the right to store, reproduce, display, publish and communicate or distribute copies in electronic or digital format, including, but not only, through the internet. Unless you have disclosed your name, the European Commission has no obligation to share your name when using or disseminating your contribution to the public. The European Union cannot be held responsible in case any submitted idea, project, concept is found to infringe third parties rights. The European Union shall be neither responsible for the use that third parties may do of the applications or related content.
Yes

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