Matrera Castle (Intervention Heritage) by Carlos Quevedo Rojas
2016 - 2017, Golden A' Cultural Heritage and Culture Industry Design Award Winner
Inspiration
The essence of the project is not intended to be, therefore, an image of the future, but rather a reflection of its own past, its own origin. With brandian reference, this project aims to look at a unifying potential restoration, without undertaking the task of building a false historical monument or cancellling every trace of the passage of time. It tries to approach the work in recognition of the monumentum or memory in its physical consistency and its dual polarity, aesthetic and historical, in order to transmit those two aspects to the future.
Creativity
With compatibility and authenticity criteria, the intervention looks at structurally consolidating the elements that were at risk, to differentiate the additions from the original structure, avoiding mimetic reconstructions that our law prohibits, and recovering the volume and tonality that the tower originally had as a landscape icon.
Design Challenges
These cultural models and emblems of our cities and territories have suffered enormously due to the economic crisis, which has made them fall into decadence because of the lack of economic interest in their maintenance.
Production Technology
All that previous historical, constructive, functional, structural and pathological analyses, as well as the archaeological supervision that has taken place have been important to define the details of the project. New discoveries have appeared during the works that have served to recover part of the interesting history of this monument of cultural interest. The very limestone that had collapsed was re-used for the buttresses that guarantee its stability and for the reinforcements/protections of the internal degraded cores that had lost their exterior stonework. The top was executed in order to consolidate the slender wall that remained after the collapse and that was running a serious risk of overturning. In its exterior face, the flesh was removed and the original white covering was retained in its interior face as well as an interesting fresco painting of a boat in ochre tonality. All the edges were also rethought from the details of geometric existing geometrical elements, in order to mark its original volume.
       
     
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