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Fàbrica de farines La Victòria
autoria desconeguda
Edifici de planta rectangular amb coberta a doble vessant, de tres plantes. Les parets són mixtes, de pedra i obra a les cantonades i emmarcats. La façana principal, arrebossada, té el mur dividit per unes bandes horitzontals de totxo. Està ornamentada amb un pinyó, on figura la data de construcció de l'edifici, i amb rajoles blaves que, també, es troben a la divisió entre la planta baixa i el primer pis. Unes grans lletres pintades indiquen la seva primitiva funció "Fàbrica de Harinas La Victoria". El mur de ponent hi ha adossada una construcció de planta quadrada on hi havia un dipòsit d'aigua i l'escala. Al de llevant, hi ha uns baixos que perllonguen l'edifici. La seva tipologia és la típica de les farineres de principis de segle. Es tracta d'una fàbrica de farines que es construí el 1911 davant la poca rendibilitat que oferia el molí del Galobart de Navarcles als seus propietaris. De fet, la seva construcció, té lloc el mateix moment que s'estengueren les farineres per tot Catalunya. A principis dels anys 20 del segle XX, patí un incendi i deixà de funcionar com a fàbrica i, fins fa relativament pocs anys, s'ha fet servir pel bestiar. Avui, els baixos estan buits, sense cap funció, i la primera planta es fa servir com a habitatge.1911
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Single-Family Dwelling in Sant Fruitós de Bages
Jordi Moliner i Salinas, Antoni Poch Vives
L’estructura portant de l’habitatge ordena i defineix cadascun dels espais, com també els usos de la parcel·la en la seva totalitat. Una retícula ordenada de 4,50 metres de crugia determina les parts generals de la casa, tant a l’interior com a l’exterior. La planta de l’habitatge adopta una forma de E i crea uns patis entre les ales edificades que permeten resoldre al mateix temps el problema de les vistes i de l’orientació. La planta superior té una disposició lineal, superposada a la forma en E de la planta de sota, la qual cosa genera unes terrasses que donen als patis inferiors. Aquestes terrasses queden comunicades entre elles per unes passarel·les que donen lloc a un recorregut interessant per l’exterior de l’habitatge. D’aquesta manera, la casa és el resultat de l’aplicació del programa domèstic a unes dades geomètriques i estructurals que han estat decidides prèviament.1996 - 1998
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Cobert de la Màquina de Batre
autoria desconeguda
Espectacular hangar d'estructura de ceràmica armada, amb tots els elements de composició ceràmics (la peça Soletip). Consta de quatre arcades parabòliques, determinant les tres crugies que cobreixen la totalitat de l'edifici. Als extrems de cada arcada s'adrecen dos pilars per aixecar els faldons de la teulada. La coberta està formada per un seguit de bigues que descansen sobre els arcs i una jàssera que, per sobre del pilar de cada extrem d'arc, es recolzen en les costelles de l'arcada. Sobre l'embigat es recolsa la teulada, formada per lloses de peces "Soletip", encavallades transversalment. L'edifici fou construït a mitjans del S. XX, pel Sindicat Agrícola de Sant Fruitós, amb la finalitat de destinar aquest espai a batre els cereals. Més tard va passar a ser utilitzat també com a magatzem agrícola i cobert. L'edifici és una intel·ligent aplicació d'un sol material prefabricat en temps d'escassedat de materials estructurals.20th century
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Gerbert d'Aurillac Secondary School
Jordi Bosch Genover, Joan Tarrús Galter
L’institut ocupa una parcel·la situada al límit del terreny urbanitzable, darrere d’un vial de circumval·lació i al peu d’un turó destinat a parc urbà. L’edifici fa façana al vial d’una manera decidida, ajustant la fàbrica a la corba del vial amb la intenció de completar el caràcter urbà de l’altra banda del carrer. Aquest braç, molt llarg i estret, es compon de tres cossos diferenciats segons els usos, i connectats per la planta primera d’extrem a extrem. El cos de les aules forma un segon braç ajustat a la topografia del terreny, que separa l’àmbit de l’entrada del pati de jocs i les pistes esportives. S’accedeix a tot el recinte per un porxo a tres alçàries situat en un extrem. La implantació sobre el terreny aconsegueix que, des dels espais interiors de l’escola, es gaudeixi de les vistes sobre el turó, de manera que l’edifici construeix el límit entre el sòl urbà i el parc previst a la part posterior.1997 - 2000
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Restauració del Monestir de Sant Benet de Bages
Francisco Javier Asarta Ferraz, Josep Maria Esquius i Prat
2005 - 2007
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2006 - 2007
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Alícia Foundation
Clotet, Paricio & Associats, Lluís Clotet i Ballús, Jordi Julián Gené, Ignacio Paricio i Ansuategui
The new building was located near the Monastery of Sant Benet de Bages. The Llobregat river embraced there, with an abrupt gesture, magnificent fields of cereals and vineyards that housed the imposing Romanesque monastery and later the Carbó textile factory. Two monuments of the past that testified with great clarity and expressive force to two brilliant moments in the country's history. The new building did not want to stand as an element that would blur the previous ones or take away their prominence, and sought to distance itself from their architectural, constructive and geometric conceptions. Already in the initial drawings, there appeared lines that did not refer to known building types, but rather insinuated malleable, pasty forms, with amorphous geometries that suggested adaptation and camouflage. In this way, the new organism was easily respecting old walls, fences, paths, stairs, plantations... and adapting to the constant changes of an inconcrete programme that obliged it to change its size, occupation and height, even embracing the neighbouring house of the former owners in a permanent demonstration of its great docility and flexibility. A raised floor, a generous false ceiling and a free floor plan reinforced the desire to accommodate the unpredictable. The building was designed so that from the inside one could experience the feeling of being in a place surrounded by nature, of being inside it, of being able to see the trees, the birds and the rain from very close up. This is why the vertical plane separating the interior and exterior was completely glazed. A surface which, depending on the intensity of the light, was transparent or reflective, so that at times the built volume disappeared and at others it was totally integrated into the surroundings by reflecting the exterior as if it were a mirror. The control of sun, light and privacy was achieved through a complex façade of varying thickness, ranging from zero in the entrance area to 13m at the widest point. It was a band defined by the vertical plane of glass enclosing the building on one side and by a wall of almost the same height on the other. This wall made use of pieces of old stone walls which were extended with new concrete walls and in some areas large windows were opened up to allow controlled views of the landscape. In between these two vertical planes, horizontal shading canopies were installed at the same level as the interior ceiling and trees were planted to ensure solar protection and quality of light. This thick façade of variable width easily resolved the compromise between the interior form that the building required and the exterior form that the site demanded, while also creating a quiet, landscaped intermediate space that visually prolonged the interior space and formed an inseparable unit with it. Generous vertical skylights facing north balanced the light in the areas of the ground floor furthest from the perimeter. -
Món Hotel
Espinet/Ubach, Arquitectes i Associats, Miquel Espinet i Mestre, Antoni Ubach i Nuet
The decision to build a new hotel on the site of the Monastery of Sant Benet de Bages was the result of a long project. From the moment Caixa Manresa acquired ownership of the legendary Romanesque monument, the economic, technical and creative springs were set in motion to assemble a complex and suggestive idea to revitalise not only the surroundings of Sant Benet, but also a large part of the Bages region. Caixa Manresa has facilitated the transfer of an old Benedictine monastery of medieval origin to an emblematic complex of as yet unplanned scope, a project called Món Sant Benet. Around the monastery, which has been restored and extended for museum and congress centre uses, there is a new building for a reception centre and banqueting space, a specific centre for research in the field of food, the Alícia Foundation, and, finally, a four-star hotel located around the complex that acts as a physical and visual boundary on the edge of the buildings. The Món hotel is conceived as one more piece in the building fabric, keeping its own shapes and using materials, colours and textures in harmony with those of the other existing buildings. The project is articulated around an enclosed garden, with the church bell tower as a reference element and visual guide for the complex. The 89 rooms offer views exclusively towards this space, through covered terraces protected by aluminium shutters. Thus, a single-bay hotel is conceived where all the rooms face the good orientation, while the access corridor serves and surrounds them on the opposite side. The form of the building responds to this premise: an open, glazed and active appearance towards the south, and closed façades with occasional and strategic perforations towards the north. The building complex described above is developed on three levels, on which the rooms are distributed. Only the central level, which serves as access to the clients, has large areas for public use. This is where the reception, lounges, cafeteria, bar and restaurant are located, all of which open onto a large outdoor platform facing the monastery. The almost indefinite alignment of the rooms is interrupted by the broken form of the powerful volumetry, which generates bodies that open or fit together according to the needs and uses of the articulation nodes. The three floors of the hotel are crowned by a metallic roof that runs along a good part of the perimeter, facilitating the installation of extractors, fireplaces, etc., inside to prevent their visual presence from the outside. The broken alignment of the hotel has two exceptions: the fissure that occurs in the canal area, where a glazed body has been designed to serve as a gastronomic dining room, and the playful esplanade around the open-air swimming pool situated on the south-western limit of the site. The austerity of the architectural language was one of the objectives pursued. The limited use of materials, the grey, green and even black tones chosen and the predominance of natural stone in contact with the exposed concrete give the hotel an almost monastic appearance; appropriate, in our opinion, to the historic monument. The initial arguments of adaptation to the territory, orientation towards the monastery, solid and austere image, and integration into the landscape have been effectively fulfilled. All that remains now is to get the complex up and running and adapt its use to the sometimes strict architectural requirements. -
Library and Historical Archive of Sant Fruitós de Bages
Xavier Tragant Mestres de la Torre
La biblioteca és un homenatge al llibre, evocant la seva materialitat i la cultura que representa. L’edifici s’amaga darrera corbes orgàniques en moviment i estructures i formes amb connotacions simbòliques. Però, rere tota aquesta marcada càrrega estètica s’amaga un edifici que apunta cap a una sostenibilitat radical. L’envolvent de l’edifici i els detalls constructius es van dissenyar a partir de l’estudi que es va fer amb l’ajut d’un programa dinàmic de simulació de fluxos energètics i es va dissenyar un sistema de fred Solar basat amb una pèrgola feta a base de plaques solars tèrmiques conjuntament amb un sistema d’absorció de bromur de liti. Bona part dels materials ens parlen de baix impacte: fusteries de fusta, aïllaments de suro, paviments de linòleum natural, morters a la cal, pintures ecològiques. L’edifici s’enfonsa deliberadament en el terreny i es cobreix amb una coberta que ens recorda els camps i marges de l’entorn de Sant Fruitós.2014
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Rehabilitació del Cobert de la Màquina de Batre
Olga Correa Sala, Xavier Falguera Valverde, Núria Rius i Alcaraz, Clara Roig Cortés, Alejo Salgado Izquierdo
2017
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Single-family house in Sant Fruitós de Bages
TGa arquitectes, Jordi Grané Font, Ricard Torres Montagut
The home is designed as a single-storey dwelling connected to the garden, creating the need to close off the street-facing side to open up towards the rear, south-facing patio. Only a slit in the concrete allows for an uncovered intermediate space that ventilates and lights the centre of the house. The rest of the garden is enclosed, ensuring privacy from the street while shaping the rest of the façade. Openings are concentrated on the southern façade, with a cantilever providing a porch for summer that shields from the sun's rays while allowing thermal gains in winter, thus reducing heating costs. The wooden slats on the façade enable privacy from the square and help the house blend with the patio, merging the interior and exterior into a single space. The interior layout is defined by a zigzagging portico wall that generates spaces around it. The interior is free of unnecessary finishes, with only the essential insulation against external elements. Openings in the green roof, as well as the staircase, will allow for future vertical extensions at points furthest from the southern façade.2021