OHLA HOTEL EIXAMPLE
By Daniel10-08-2017Popularity:7200 Comments

All in all, it was not an easy task.

 

An anodyne office building from the 1970s with not enough free height between the floor structures

but at the same time higher than the current law allows, constructed above railway arches which

subjected it to an insufferably high level of vibration.

 

Ugly, too high, and at the same time, too low, and above all, unbearably noisy… what else can you

ask for?

 

With the above three conditioning factors, the project was based around these three concepts:

The technology:  this allowed us to install some seismic shock absorbers to each pillar on the

ground floor level, activated by hydraulic jacks. This system divided the building into two parts leaving

everything at street level separate from the basement, thus achieving the comfort that a hotel

requires.

 

The aesthetic : in the interior the project establishes a dialogue between the existent structure,

which is left naked and exposed, and its use as a hotel, which is revealed in very high quality materials

which do not go beyond the perimeters of each room.

Therefore, in spaces with concrete floors, metal pillars and ceiling vaults, revealed by the use of

wood, ceramic and plaster, a dialogue is established in which the two elements are not allowed to

intrude on one another, and amongst which, some carefully chosen and perfectly lit pieces of furniture

can be found.

 

The city:  the facade, the manner in which a building relates to its surroundings, works as a way to

filter out aspects of the location, which despite being very central, is made uncomfortable by the

close proximity of Balmes Street.

A façade was thus composed of vertical and horizontal elements of great depth, which modulate a

blurred vertical rhythm, making it difficult to work out the building’s number of floors. The façade is

then disrupted by five wooden boxes, which act as balconies.

 

Ceramic was chosen for the façade, a material which has a strong link to the city’s history, to which

an extra value was added – music. With the help of Cerámica Cumella and the IAAC, we invented

an algorithm which, based on sound, created a model which a robot then engraved on the surface

of the ceramic during its extrusion. This process allowed us to create an infinite number of pieces,

each one unique and different but each with the same pattern.

 

For this piece, the musical composition “Vivaldi Recomposed” by Max Richter was chosen. This

piece, like our project, uses as its base something from the past, in this case Vivaldi’s Four Seasons,

which are then given a modern twist. The same system is used to create the great ceramic

mural which fills the whole of the ground floor, starting at reception and reaches right to the back of

the restaurant.


key: HOTEL OHLA EIXAMPLE BARCELONA DANIEL ISERN ESTUDI ISERN
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