Murcia: Business Center Metropolis Empire

[Dr.T]

The design has been in charge of the team ARQUITECTONICA INTERNATIONAL (http://www.arquitectonica.com/), with head office in New York and Miami. A signature that is led by the prestigious architect Bernardo Fort-Brescia.



Metropolis Empire Business Center will have 2 towers of 36 and 32 floors of between 400 and 500 square meters of surface and a whole of 180 and 165 meters high respectively. All of them will be destined for offices in order to promote a real business center in the north zone of the Metropolitan Area of Murcia city.



The city of Murcia is located in the most warm zone of the whole European Union (temperatures superior to 40ºC in summer), for this reason two frontages south and west of the towers will have a closing formed by panels of perforated plates and double crystal that will allow to penetrate the light but not the heat.



The complex will realize on a plot of 15,000 square meters in the environment of the stadium of soccer Nueva Condomina and along with one important commercial area and of services, the biggest of the Spanish broker of the Mediterranean, named Thader. In the proximities of the complex there is constructed also at present a golf course of 18 holes and a luxury hotel. His place in the crossing of the motorways Ap-7 and A-30 will facilitate the accessibility to this important investment valued for 36 million euros (55 millions of USA$).

The works it are foreseen that begin at the beginning of 2009 and are finished in 2011.

[Dr.T]

JMC TOWERS

ATALAYAS BUSINESS CENTER

... The JMC Towers find this one placed in the easter area of the city of Murcia (quarter of Las Atalayas), inside a wide and modern economic, commercial, hotel area (four hotels of 4 and 5 stars at least of 5 minutes walking) and in the precincts of the Conference Hall and Exhibitions Center of Murcia city. Its current construction state is very advanced and one hopes that it should be opened to beginnings of 2009.

DESCRIPTION OF THE PROJECT

... The modern business center Towers JMC, designed by the architect Jose Maria de Isasa, is integrated by two twin towers of offices of 22-storey and 96 meters high each one. Every floor of both twin towers has a whole of 460 square meters of surface and they are finished off in his roofs by two enormous monoliths, in the shape of pinnacles, which lodge in his interior a modern integrated system of telecommunications that will give satisfaction, both to the users of the Towers JMC, and to the neighbors and users of mobile telephony of the nearby quarters.

... Since it does to the description and memory of the project we can stand out as technical elements and constructive of the same one, the following:

Construction system:
piloting and structure of armed concrete 700/high resistance, capable of facing to the fire and earthquakes of strong intensity.
Surface:
460 square meters constructed by floor in both tower.
Provided with panoramic elevators of high speed:
capable of promoting and of lowering at a speed of up to 2.5 meters / second and provided with a capacity of up to 13 persons for elevator.
Private underground parking:
with 1,000 spaces car park.
Façade:
glass curtain wall with inner tube of 23 centimeters of Technocladd last generation, capable of providing to 2 towers thermal and acoustic isolation.
Granite soils
in all floors of the buildings.
Four toilets deprived by floor
System against fires of last technology
with detectors against automated fires.
High technology sistem in interior/exterior communication.
Heliport.
Other existing services in the complex Towers JMC:

• Hotel 4 stars.
• Restaurants
• Banks, etc.
All floors of 2 towers are destined for offices in rent.
The offices are delivered diaphanous
(with all the facilities of telephony, wiring of wide band, etc. maked in the entrance hall of every plant) so that the companies that settle could distribute the interior space of every floor and his decoration in accordance with his taste and operative needs.

MOCK-UP OF THE PROJECT

RENDERING AND TECHNICAL DRAWINGS

GALLERY OF IMAGES

WORKS AT THE MOMENT

MORE INFORMATION:

torresjmc.com
urbanity.es

[Dr.T]

new BRIDGES OF MURCIA city

(SANTIAGO CALATRAVA vs JAVIER MANTEROLA)




First Chapter: Two bridges of Santiago Calatrava in Vistabella´s quarter


JORGE MANRIQUE´s St. FOOTBRIDGE

QUEEN SOFIA HOSPITAL´s BRIDGE
















Second Chapter: Suspension footbridge of Javier Manterola in Plano de San Francisco's quarter

[Dr.T]

CARTAGENA (I)
lights and shadows
























































* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *







... dedicated to jarm

[Dr.T]

ANNEX TO THE CITY HALL OF MURCIA




CHURCH AND STATE



RAFAEL MONEO

...How does one build in a space like the Plaza Cardenal Belluga? asked Rafael Moneo when he began designing an annex to the city hall of Murcia, a dense and picturesque baroque town. The Spanish architect was daunted by the task of building the final punctuation mark on the plaza, Murcia's grandest and most important public space. Defining two faces of the plaza are an imposing 16th-century cathedral on the east and the quieter cardinal's palace dating from 1768 on the south. Along the remaining edge, a row of 18th-century houses brings to life street-level cafés.

...What Moneo faced was in many ways a thoroughly European problem of adding new uses and structures to ancient environments - but with a few twists. In the case of the Plaza Cardenal Belluga, the buildings surrounding the plaza were as strong in character as the irregular space they described; the solids were as important as the voids. And the site of the new city hall annex would put it squarely opposite and on axis with the cathedral, creating an urbanistic tension that Americans might find troubling: a direct confrontation of church and state. In a country where the Catholic Church wielded so much power for so many centuries, the relationship is even more loaded.

...Moneo claims to have created a building "content in its role as spectator, without seeking the status of protagonist held by the cathedral and the palace." The building may have been cast as a supporting player in the urban drama of its surroundings, but it has strong character and authority. Moneo filled in a small site directly opposite the cathedral, on the western edge of the plaza, where the city demolished an historic house to make way for an expansion of the 19th-century city hall just off the square. The architect outlined the existing curved boundary of the site with an open moat and oriented the blocky 3,000-square-meter building within this void. Moneo oriented the building to face the cathedral head-on - unlike the site's previous structure - and kept the street lines intact on the site's north and south flanks. The irregular residual space between the building and the edge of its moat became a submerged, open-air seating area for a café at the bottom level.

...Citizens enter the annex either through the principal public entrance on the north side or by crossing a glass-enclosed bridge linking the second floor of the addition with the existing city hall to the south. In deference to its neighbors, it was important to Moneo that the building not be entered from the plaza. On the street level of the six-floor building are the offices of Murcia's information and tourism departments, as well as a legislative chamber that doubles as a public lecture hall with seating for 160. Below the ground-floor offices is a small café that opens onto the sunken court. The remaining levels are a fairly standard arrangement of offices. The only notable exception is an airy, double-height reception room on the third level that opens onto a loggia along the east facade, facing the cathedral. The interior palette is dignified but exceedingly quiet for a civic landmark. The stone and wood floors, stucco walls, and wooden paneling are "discreet and almost imperceptible," as Moneo describes them, "though befitting public spaces" with their quiet dignity.

...On its north and south facades, the building's exterior says little. Square windows punched into its skin of a golden local sandstone called lumaquella respect the rhythm and scale of the building's tight confines. Solid sills of overhanging stone slabs are the only articulation in the smooth, planar faces.

...The plaza facade is where Moneo's design sets forth its ideology. This single elevation, roughly a golden section in profile, encapsulates the entire building's attitudes toward its surroundings and toward history and modernity, order and disorder. Atop its lumaquella base are bands of stark stone piers that support the exposed concrete slabs of balconies tucked behind the shifting scrim of columns. Moneo modulates the rectangular openings of this blunt trabeation floor by floor; each level of this outermost skin is set to its own syncopated rhythm. "This facade," explains Moneo, "could never, nor would ever, want to compete with classical order. It is organized as a musical score: numerically. It resists symmetries and accepts as a key element the balcony of the gallery."

...The composition reads like the cold, classically leaning facades of Italian rationalists Giuseppe Terragni or Marcello Piacenti gone haywire. Freed of their structural imperatives, the square columns bunch up and spread out at will. Within a single flat plane, Moneo's civic annex becomes as affected and self-conscious as the baroque cathedral - but never relinquishes its sense of order and rationality. There are moments when the building follows external cues: Window lines mimic those of its neighbors, for instance, and the ceremonial balcony aligns with the piano nobile of the cardinal's palace. The number game Moneo plays within the facade expresses a localized order. Each level of columns follows its own regular rhythm; together, the layers read as simultaneous melodies or separate instruments playing their own part of a symphony. This facade is Goethe's credo of frozen music writ large - and literal.

...Although Moneo wanted his addition to defer to its historic setting, it's not as reverent as he claims. The building makes a clever game of playing order against disorder to assert its own identity among its ornamented neighbors. More importantly, though, this annex introduces a new civic role to an important space in Murcia's public and religious life.

pictures by megias.com

[Dr.T]

NORTH LECTURE ROOM BUILDING
University Campus of Espinardo.
University of Murcia

MARTÍN LEJÁRRAGA

pictures by megias.com

[Dr.T]

ROMAN THEATER MUSEUM
OF CARTAGENA

... the emotion of the convalescent memory

RAFAEL MONEO

HISTORY OF A FIND

... The find and excavation of the Roman Theater of Cartagena turns from the beginning into one of the most surprising discoveries of the archaeology of the city, since the city of Cartagena comes to certify the important role that redeemed in the history of the Ancient Hispania.

.... The reason of which a monument of this category and dimensions had been secret for centuries, is in that it is a question of one of the scarce sectors of the city occupied of uninterrupted form until our days, so that his original physiognomy remained secret in the course of time. Example of this occupation is the partial superposition of the Oldest Cathedral on the top part of the Roman Theater, one of the biggest singularities of this archaeological set

... . The integral recovery of the Roman building has turned into the engine of regeneration of one of the areas that were more depressed of the city. Also, its situation along with some of the most emblematic buildings like the Cathedral, the City Hall´s Palace, the medieval Concepcion´s Castle and the harbor, it turns it into one of the most attractive and monumental places of Cartagena.

THE MONUMENT

... The “cavea” of the Theater in its central part turns out to be excavated in the proper rock of the mount, making use of its place in one of the highest hills of the city, while the side flanks would rest on domed galleries. With capacity for 6,000 spectators, it is articulated in three horizontal sectors (“moeniana”), divided in turn by five radial stairs in the “ima cavea”, and seven in the “media” and “summa cavea”.

... The principal accesses of the public realized across two side corridors (“aditus”) on whose entry doors were locating each lintels with the dedications to Lucio Caesar, in the oriental one, and, probably, Caio Caesar, in the western one. Both dedications, along with the mention consul designatus in the cursus of Caio of one of the altars found in the pit of the “hyposcaenium”, has allowed to specify the date of construction or opening of the building between the years 5 and 1 A.C.

... . From these side brokers one was gaining access also to the “orchestra”, semicircular space in front of which the stage develops or “proscaenium” with a 43.60 m length, on that the actors were intervening along with the choir, while in the proper “orchestra” the honor seats were placed in three lines (“proderia”) reserved to the authorities. The stage was finished off by a front articulated by means of “exedras”, under which there passes a domed collector destined for the evacuation of rainwaters, with three sewer pipes in the central part, which he communicates with another two channels placed in the ends of the corridor of circulation, on the foot of the “ima cavea”. Opposite to the stone steps (“cavea”) there is located the “scaenae frons” or scenic front that can return, from the analysis of the stamps and of the architectural elements, with a plant articulated in three “exedras” of curvilinear tendency, and an elevation 14.60 m high with two orders, in which the combination of the reddish tones of the columns, targets of the capitals and bases, and gray of the podium and roof-wood it would provoke a suggestive chromatic game.

... In the later part, we can encounter, in echelon form, the “porticus post scaenam” articulated with a double gallery with porch arround a central garden.

... The building turned very quickly into an essential piece in the scenery of the ancient city, the quality of his materials; bases, cornices and especially capitals, they translate the importance of the building, and along with his rich ornamental program they turn to the theater of Cartagena in a magnificent exponent of the public and monumental architecture of epoch augustea in Hispania.

... They emphasize in this decorative program numerous ideological messages between which it emphasizes the introduction of the cults to the traditional divinities of the Roman State across three altars where there are represented the symbols of the “Capitoline Triad”.

THE RESTORATION

... Bearing in mind the most recent precedents as for the recovery of theatrical spaces of the antiquity and after a reflection about the use and function that one wanted to give to the same one, there has given priority the recovery of the theater as a visitable monument that returns to the society for its contemplation and enjoyment in itself, and like transmitter of the signs of identity of the Roman Cartagena.

... The restoration has continued a few basic criteria faced principally to a better comprehension of the monument for the visitors, therefore it has been necessary to restore with new work those remains of the stone steps that had disappeared completely, without altering never the original physiognomy, while there has been consolidated the original work that had survived. Finally, a restoration of the accesses has been realized to guarantee the visit and trip inside the building, and the scenic front has returned partially integrating original elements.... It is a question also, of a restoration that he has tried of a side to be reversible and that of another part it has tried to minimize to the maximum the material impact.

... Reversible because there have been taken the necessary measures that they assure that the new work is perfectly detachable without any type of damage for the original work. With this target the new work of original has separated by means of a framework of strips of fibre geotextil that allows to isolate the sufficient thing both as to allow a hypothetical dismantling.

... To reduce the material impact the most related materials have been used to the originals, reproducing in a most approximate way the skills used in the construction of the building. Basically a lime mortar has been used, with washed river sand. In the mortar they have been used also andesitas, limestones and filitas of the disintegrated rock, which there are the employees in the work originally. In the hewing of stone there are employees only stony materials of characteristics similar to the used ones in the antiquity.

THE INTEGRAL PROJECT OF RAFAEL MONEO

... The long way tackled in 1988 does not end with the restoration of the theatrical building and of the “porticus post scaenam” but it contemplates, also, the integration of the remains in the urban textile, its suitable conservation and exhibition with didactic and cultural ends, as well as the construction of a monographic museum and an attached research center.

... So that the performance in the monument has taken equally the development of the integral project realized by the architect Rafael Moneo, which it includes:

A) Adequacy and urban development with green spaces of the whole exterior space placed after the wall perimetral of the Theater, a platform species in echelon form that constitutes the natural extension towards the west of the hillside of Concepcion´s Hill. This space establishes the union connection between the medieval remains of the Castle of the Concepcion and the complex Cathedral / Roman Theater.

B) Accesses and urban development of all this sector: infrastructures, system of illumination, paving, as well as pedestrian and requested road tracings. The materials selected for the urban development remain harmonized with the natural and historical scenery. This way, the whole trip perimetral and public of the Roman theater is unified by means of the urban development of streets and green spaces.

C)Museum is other of the elements that shape the totality of the Integral Project and it arises to give answer to the need for a space in that to assemble the totality of the pieces found during the successive excavations. The Museum gives cause to incorporate Riquelme's Palace, and to join the Church of Santa Maria (the Old Cathedral) in the set, turning the Theater into the last and most notable piece presented in the Museum. Its construction develops in two buildings joined between themselves by a broker arranged under the street: the first one, which incorporates the corridors still in foot of Riquelme's Palace, organizes itself concerning a courtyard as impluvium and includes in its different floors dependencies on service, such as foyer, snack bar, hall of temporary exhibitions, library, rooms of file and study, offices, meeting rooms, etc., while the second body placed in General Ordoñez St., whose terrace connects to the entry to the Old Cathedral, will be destined for the rooms of permanent exhibition.

• The visit to the set begins in the same Square of the Town Hall, while it is possible to throw a last look to the near port, and finishes on top of the urban hill where Roman Theater waits for the visitor newly convalescent. The visitors will enter, to initiate his adventure, Riquelme's Palace - whose front for nothing makes to presage what waits for us - placed in the said Square of the Town Hall. Already in the first broker the trip begins, that will be showing us the urban evolution of the lot of the theater from the XXIst century until the Ist century to A.C. In him one illustrates, from the archaeological objects recovered in the excavation and planning, photos and audio-visual, the history of the lot: from the Fishermen's Quarter (XVIIIth to XXth centuries), following for the Old Suburb, the Medina of Qartayanna al Halfa, the port quarter of Byzantine epoch, destroyed by Suintila, and the transformation of the theater on market in the middle of the Vth century A.C. straight, to enter the first big exhibition hall.

• This big room, which Moneo has formed like a space of more than 100 m2 and seven of height, lodges the collection of monumental architecture; in its, the necessary keys happen to understand the architecture of the theatrical building across the exhibition of original pieces, in addition to a mock-up and other didactic elements. In this room, the visitor will be able to understand the importance of the Roman Theater of Cartagena, since the entity of its bases, cornices and especially capitals, they turn it into a magnificent exponent of the public and monumental architecture of roman epoch . Also, it will be explained what meant the construction of the building: planning, gather of materials of the principal quarries of marble of the Mediterranean, election of constructive materials of the local quarries, etc.

• And from the mezzanine, the visitor will come to the second big room of the permanent collection, the space of major size of the Museum, ten meters high, illuminated by the combination of skylights and hollows of very diverse character, which will provide the tones of light necessary for the exhibition of the pieces that form the epigrafic program and ornamentally of the theater. A decorative program loaded with ideological messages, between which he emphasizes the introduction of the cults to the traditional divinities of Rome across three altars where there are represented the symbols of the Capitoline Triad. This big room keeps a surprise: it connects with the archaeological crypt that the Old Cathedral thinks up under the church of Santa Maria. And, also it has, in opinion of Moneo, a fundamental mission: that of preparing the visitor for the contemplation that it will have at the end of his visit.

• ... Really, what waits for him for the visitor will not make him indifferent: a corridor of already exterior circulation will provide to him a finished vision of the Theater, which geometric rotundity is noticed by the restitution of a wall of closing in stone, which will separate the archaeological enclosure of the Park of the Cornice that serves to him as landscape frame and point of contemplation. From here on: the Theater to his feet.

D)Consolidation and socio-economic revitalization of the road axes that they lead up to the Theater, what is going to allow to recover one of itss quarters and one of the most emblematic monuments:

• From the center of the city and across the Cuatro Santos Street.
• From Port area
  
• Across the streets of Cañon and Cuesta de la Baronesa.

CREDITS:

IMAGES:

jarm

gillermoCT

Rosa

Anteo

Murcianicos.es

RENDERS:

pichuneke

avcesar

MORE INFORMATION:

teatroromanocartagena.org

urbanity.es

[Dr.T]

INVERCON REAL STATE GROUP
HEAD OFFICE BUILDING
in MURCIA city.

TECHNICAL INFORMATION

Place: Juan Carlos I Av.
Property: Invercon Real State Group.
Underground surface: 4,237 square meters.
Building surface: 3,115 square meters.
Initial date of works: May, 2008.
Final date of works: 2009.
Height: 85 meters

DESCRIPTION

... It is a 19th-stories building and 85 meters high, with 2 underground parking floors. The building, in the shape of diamond, occupies the minimal surface in the first plants and it is increasing progressively of similar size climbs in height.

... This way, in the1st floor finds only the entrance hall, in the 2nd and 3rd floors only locates the stairs nucleus. In the 4th floor appear the offices, which will be increasing its surface until 16th. In the 17th floor, the office´surface retrogress inwards and in 18th floor, finds the terrace of the tower. The building is finished off by a triangular pediment that contains the corporate image of the company.

... Building´s underground has a capacity for 128 space car park, having a double access to the same one, one of entry and other of exit.

WORKS AT THE CURRENT

CREDITS:

RENDERS by

chamizo.net

PICTURES by

murcianico

veermer

juanfra1908@hotmail.com

MORE INFORMATION

chamizo.net

grupoinvercon.com

[Dr.T]

GODOY TOWER
OBRALIA Co. HEADQUARTER BUILDING
Northern end of King Juan Carlos I Avenue.
MURCIA

TECHNICAL INFORMATION

Built: 2002
Floors: 2 underground floors (240 spaces car park) and 19 office floors
Height: 80 m.
Architect: Chamizo Arquitectos
Owner: Promotora de Torres de Oficinas SL.

GALLERY

CREDITS

Photos by Chamizo.net and Aragron

[Dr.T]

PANORAMIC LIFT CONCEPCION CASTLE
Gisbert Street, Cartagena city.

... more than an urban elevator ...

MARTÍN LEJÁRRAGA

TECHNICAL INFORMATION

Built: 2002 - 2004
Developer: Cartagena Puerto de Culturas
Building surface: 1,083 square meters
Height: 40 meters
Cost: € 1,2 mill

GALLERY

OTHER SIMILAR ELEVATORS IN THE WORLD

Panoramic Lift in Niagara Falls, USA.
Built in 2003
H3 Hugh Hardy Collaboration Architecture LLC
(till 2004 partner of famous HHPA)

CREDITS

technical information courtesy of

lejarraga.com
h3hc.com

pictures courtesy of

jarm@wanadoo.es
Falk Preusche
Panoramio

[Dr.T]

ESTACIO BASCULE BRIDGE
Maritime Chanel of Estacio & Yacht Port Tomás Maestre
La Manga del Mar Menor
Community of Murcia

... in the middle of the sea ...

Javier Manterola Armisén


TECHNICAL INFORMATION

Built: 2002
Owner: Comunidad Autónoma de la región de Murcia
Function: road bridge
Structural type: bascule bridge
Piers: reinforced concrete
Deck of main bridge: steel
Deck of approaches: prestressed concrete
Total length: 125 meters
Length of movable span: 55 meters
Width: 10 meters
Height bridge: 32.5 meters
Height control tower: 41 meters
Surface bridge: 1,250 square meters

GALLERY

CREDITS

structurae.de
upn.es
urbanity.es
dialnet.es
carm.es
panoramio

[Dr.T]

TEACHING PAVILION
Virgen de la Arrixaca Hospital. El Palmar. Murcia

... cubic vacuums ...

S-MAO
Sancho & Madridejos Architectural Office

DESCRIPTION

... In the Teaching Pavilion of the Arrixaca, in Murcia, there is proposed a stony volume, of golden stone, in two longitudinal levels 6 and 15 meters high, with two scales, two tones. A series of vacuums is projected towards the interior, opening in an almost symphonic unit.

... The access entrance hall takes place based on a clash between two cubic vacuums of different tone: one of 15×15x15 m. interior and other of 9×9x9m. exterior - for that one gains access - that they compress, tense and fit vertically in the space of the central foyer.

... The transition between the successive spatial episodes: exterior vacuum, compressed space of the foyer, empty interior garden, each one with his properties of tension and tone, mark the time and the principal topic of the project.

...The projected vacuum, which contribute light and vision sifted, constructing the interior spaces, wrap with the second skin serigrafed in metallized gilding, with the reference of the stony texture used in the building, trying to evoke a dialectics of the stony thing with the tectonic thing: of the time and the light with the space.

TECHNICAL DRAWINGS

CREDITS

Photos courtesy of arqa.com / Hisao Suzuki

[Dr.T]

QUEEN SOFIA UNIVERSITARY HOSPITAL
Intendente Jorge Palacios Av. MURCIA

... in front of Calatrava's bridge ...

Gádor CARVAJAL & Juan CASARIEGO

TECHNICAL INFORMATION

Built: 2000-2005
Client: Servicio Murciano de Salud
Cost: €59 mil
Built Surface: 90,000 square meters

GALLERY

PLANS

(click here)

HOSPITAL's CHAPEL

Sculpture of Christ of the Hospital

... Beautiful sculpture that is in the Chapel of the Queen Sofia Hospital of Murcia,
it is a question of the Holiest Christ de Zalamea or also it is known like Christ of the Stairs, or Christ del Hospital simply.
Previously one of his dedications was in the Ancient Hospital of San Juan de Dios, under a stairs, hence.

... It is an image of which the author is not known, although after his recent restoration some technical staff says that it might belong to Jerónimo Quijano, of the XVIth century.

CREDITS

Technical information courtesy of Carvajal + Casariego

(accarquitectos)

Photos courtesy of:

accarquitectos.com
murciasalud.es
laverdaddigital/v.veron
miradordelevante/domingoperalta
masqueobrasdearte/juanantoniosaura
flickr/pedrojpacheco

[Dr.T]

GUADALENTÍN RIVER FOOTBRIDGE
San José Quarter, Lorca. Murcia Community

... a bridge in the middle of the desert of Europe ...

Javier Manterola Armisén

TECHNICAL INFORMATION

Built: 2002
Client: Lorca Town Hall
Cost: € 7,5 mil
Structural type: Arch Suspended Bridge
Materials construction: White steel

DESCRIPTION

... The bridge is constructed by a top arch of 85 meters high, by which two footbridges 4 meters wide hang.
The form of two footbridges is a curve 153 meters long.

CREDITS

Photos courtesy of Panoramio

PJ Llamas
geos
pacomendoza

[Dr.T]

NEW LAW COURT BUILDING
OF JUMILLA
Libertad Avenue. Jumilla. Murcia Community

... Cheap + nice = a perfect work ...

ad-hoc arquitectos > territorio
Juan Antonio Sánchez Morales / Carlos Jurado Fernández

TECHNICAL INFORMATION

Location: Av. de la libertad, s/n. Jumilla. Murcia

Cost: € 1,270 M
Plot Surface: 1,800 m2
Built: May 2007
Client: Ministerio de Justicia

DESCRIPTION

.. The tubes of the facade were covered in aluminum but had to be done in Sweden and it cost more than the entire budget available, it was for a long time looking for alternatives to end resolved with a simple corrugated pipe reorganization that would set any organization color of the building.

... The ground floor is proposed with a runned wall of u-glass, but it was insufficiently secure in the eyes of ministerial technicals and emerged a booster through a plate cut with the fact that whenever they get "frenc-pavés" desired circular that is no longer manufactured.

CREDITS

adhocmsl.com