Alcazar Genil metro station by Antonio Jiménez Torrecillas
01/10/2019.
[Granada] Spain
metalocus, RAMIRO PÉREZ TOLEDO
metalocus, RAMIRO PÉREZ TOLEDO
During the construction of one of the metro stations in Granada, in a twentieth century consolidated environment, the remains of the Muslim palace pool, the Alcazar Genil, where discovered.
Antonio Jiménez Torrecillas assumed the cultural and urban significance of this finding, integrating it into the station, equating both engineerings (XIII and XXI century) through the honest expression of its materiality, facilitating its visit by citizens and adding a room for cultural events visually connected with the Albercón.
Antonio Jiménez Torrecillas assumed the cultural and urban significance of this finding, integrating it into the station, equating both engineerings (XIII and XXI century) through the honest expression of its materiality, facilitating its visit by citizens and adding a room for cultural events visually connected with the Albercón.
Platform view. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Platform view. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View from the vestibule, on the way down to the platform. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View of the pool original wall from the vestibule. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View of the vestibule from the pool original wall. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View of the vestibule from the pool original wall. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View from the vestibule, on the way down to the platform. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View of the vestibule from the pool original wall. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View from the vestibule, on the way down to the platform. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Platform view. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Platform view. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View of the pool original wall from the Antonio Jiménez Torrecillas cultural hall. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
View of the platform from the pool original wall. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Almohad pool archeological remains. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Almohad pool archeological remains. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Platform photographs composition. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Station entrance. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Station entrance. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Platform view. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Site plan. Alcazar Genil Station by Antonio Jiménez Torrecillas.
Vestibule and cultural hall plan. Alcazar Genil Station by Antonio Jiménez Torrecillas.
Vestibule and pool plan. Alcazar Genil Station by Antonio Jiménez Torrecillas.
Vestibule and pool plan. Alcazar Genil Station by Antonio Jiménez Torrecillas.
Platform plan. Alcazar Genil Station by Antonio Jiménez Torrecillas.
Longitudinal section. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Cross section. Alcazar Genil Station by Antonio Jiménez Torrecillas.
Cross section. Alcazar Genil Station by Antonio Jiménez Torrecillas.
Entrance plan. Alcazar Genil Station by Antonio Jiménez Torrecillas.
Entrance section. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Construction sequence. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Construction phase. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Pouring of concrete in the suspended vault above the platform, supporting the remains of the pool. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Construction of the arch beam that supports the pool wall in its original position. Alcazar Genil Station by Antonio Jiménez Torrecillas. Photograph by Antonio Luis Martínez Cano.
Construction sequence. Alcazar Genil Station by Antonio Jiménez Torrecillas.
The execution of the underground section of the Granada metropolitan has allowed the discovery of the archaeological remains of the Alcázar Genil pool, periurban Muslim royal residence of the 13th century. The Albercón, measuring 128 by 27 meters, was devoured at its ends during the urban growth of the twentieth century, but the central section was saved, trodden down by the Camino de Ronda, a road under whose route the metropolitan route runs.
The location in Alcázar Genil of an underground station allows the integration of the archaeological remains of the pool, recovering them, highlighting their value and making them accessible.
The Alcázar Genil station project combines the joint efforts of various disciplines that put the engineering of the 13th and 21st centuries at the same level, with a basic interdisciplinary vision to cover the complexity of the entire project in order to make contemporary infrastructures compatible with the Past hidden under the skin of our old historical centers.
The integration of the archaeological remains, at an intermediate level between the lobby and the street, starts from the fundamental premise of not dismantling the side walls of the pool. Maintaining material genetic information is the strategy that extends to the different walls and construction systems that offer the rugged texture of the earth and the horizontal stratigraphy of its tonings as an honest expression of the material of the 21st century.
Structural reinforced concrete defines the space of use on which, as a carpet, a granite flooring covers the hidden building services. Glass and stainless steel were chosen for the furniture, signage or routes, integrated through the delicate use of lighting, both natural and artificial.
The Albercón witnesses a sum of times where the old determines the roots of the new and where the new makes sense by giving continuity to the old, in another chapter of the unfinished biography of the Alcazar Genil.
El hormigón armado estructural define el espacio de uso sobre el que se dispone, a modo de alfombra, un pavimento de granito que alberga ocultas todas las instalaciones. El vidrio y el acero inoxidable resuelven el mobiliario, la señalética o los recorridos, integrados mediante el delicado uso de la iluminación, tanto natural como artificial.
El Albercón es testigo de una suma de tiempos donde lo antiguo determina el arraigo de lo nuevo y donde lo nuevo cobra sentido al dar continuidad a lo antiguo, en otro capítulo de la biografía inconclusa del Alcázar Genil.
The location in Alcázar Genil of an underground station allows the integration of the archaeological remains of the pool, recovering them, highlighting their value and making them accessible.
The Alcázar Genil station project combines the joint efforts of various disciplines that put the engineering of the 13th and 21st centuries at the same level, with a basic interdisciplinary vision to cover the complexity of the entire project in order to make contemporary infrastructures compatible with the Past hidden under the skin of our old historical centers.
The integration of the archaeological remains, at an intermediate level between the lobby and the street, starts from the fundamental premise of not dismantling the side walls of the pool. Maintaining material genetic information is the strategy that extends to the different walls and construction systems that offer the rugged texture of the earth and the horizontal stratigraphy of its tonings as an honest expression of the material of the 21st century.
Structural reinforced concrete defines the space of use on which, as a carpet, a granite flooring covers the hidden building services. Glass and stainless steel were chosen for the furniture, signage or routes, integrated through the delicate use of lighting, both natural and artificial.
The Albercón witnesses a sum of times where the old determines the roots of the new and where the new makes sense by giving continuity to the old, in another chapter of the unfinished biography of the Alcazar Genil.
El hormigón armado estructural define el espacio de uso sobre el que se dispone, a modo de alfombra, un pavimento de granito que alberga ocultas todas las instalaciones. El vidrio y el acero inoxidable resuelven el mobiliario, la señalética o los recorridos, integrados mediante el delicado uso de la iluminación, tanto natural como artificial.
El Albercón es testigo de una suma de tiempos donde lo antiguo determina el arraigo de lo nuevo y donde lo nuevo cobra sentido al dar continuidad a lo antiguo, en otro capítulo de la biografía inconclusa del Alcázar Genil.
More information
Architect
Antonio Jiménez Torrecillas
Location
Camino de Ronda. Granada, Spain.
Photography Fotografía
Antonio Jimenez Torrecillas
Antonio Jiménez Torrecillas (Hellín, Spain, February 22, 1962 - Granada, Spain, June 16, 2015)
Architect from the University of Seville and Doctor of Architecture from the University of Granada. He developed a large number of projects, especially in Granada, intervening in historical contexts.
He has worked in the disciplines of architecture, urban planning, landscaping and interior design. Some of his work includes: Enhancement of the Tower of the Homage of Huéscar (Granada, 2002), the recovery of the hills of San Miguel and Sacromonte (Granada, 2002-2003), the rehabilitation of the Wall of San Miguel Alto and its surroundings (Granada, 2003), and the different interventions in the Patronato de la Alhambra y el Generalife (2001).
He has made several publications, including the study of the architecture of Eladio Dieste, between 1946 and 1996.
Some of the awards he received are: Patronato de la Alhambra y el Generalife. Library, archive and warehouses of the Alhambra Museum, Southern Pavilion of the New Museums, 1st Prize, 2000. International Biennal Architecture Award “Barbara Cappochin”, Padua 2007. 1st Prize in the Landscape category for Intervention in the Nasrid Wall in Albaicín Alto, Granada. Mies van der Rohe Awards 2007. Intervention in the Nasrid Wall in Albaicín Alto, Granada. Pre-selected project.
Architect from the University of Seville and Doctor of Architecture from the University of Granada. He developed a large number of projects, especially in Granada, intervening in historical contexts.
He has worked in the disciplines of architecture, urban planning, landscaping and interior design. Some of his work includes: Enhancement of the Tower of the Homage of Huéscar (Granada, 2002), the recovery of the hills of San Miguel and Sacromonte (Granada, 2002-2003), the rehabilitation of the Wall of San Miguel Alto and its surroundings (Granada, 2003), and the different interventions in the Patronato de la Alhambra y el Generalife (2001).
He has made several publications, including the study of the architecture of Eladio Dieste, between 1946 and 1996.
Some of the awards he received are: Patronato de la Alhambra y el Generalife. Library, archive and warehouses of the Alhambra Museum, Southern Pavilion of the New Museums, 1st Prize, 2000. International Biennal Architecture Award “Barbara Cappochin”, Padua 2007. 1st Prize in the Landscape category for Intervention in the Nasrid Wall in Albaicín Alto, Granada. Mies van der Rohe Awards 2007. Intervention in the Nasrid Wall in Albaicín Alto, Granada. Pre-selected project.
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