Centro Botín

Renzo Piano Building Workshop en tant que Architectes.

The CentroBotín, a space for art, culture and education, projecting into the Bay of Santander, will restore to the city the immensedockland site of the Albareda mole, used until now as a parking lot.This is a strategic area,overlooking the sea, near the old city centre and enhanced by the historic Jardines de Pereda.The centre was strongly supported by Emilio Botín (1934-2014), president of Banco Santander and financed by the Botín Foundation, one of the most important private foundations in Spain, established in 1964 with the aim of fostering the social, economic and cultural development of Cantabria. The project restores the ties between the historical part of the city and the sea. The freeway separating the park from the seahas now been rung undergroundthrough a tunnel, making it possible to double the area of the Jardines de Pereda, extending them to the seafront and restoring pedestrian access to the sea for Santander’s citizens.


Hemmed in between the park and the sea, and on the axis of the public market, the new CentroBotín ishalf based on the land and the other half suspended over the water on stilts. This avoids obstructing theview of the sea and the beautiful bay landscape forpeople strolling in the park, as the CentroBotín is cleverly maskedby the foliage of trees.Aseries of light walkways of steel and glass separate the two rounded volumes of the building and create a new square set above grade andfully public.Stairways and elevators then lead up tothe two blocks of the cultural centre.From here the “springboard”over the seaprojects twenty metres beyond the mole.


The two-lobed form of the CentroBotín is the outcome of a laborious progressive refinement of the design with the use of models. This gave rise to a rounded form that provides better illumination of the ground floor and accompaniesthe view of visitors and citizens looking out from the park to the sea. The two bodies that make up the building are completely faced with 280,000 small, slightly rounded ceramic tiles, pearl-coloured and vibrant, that reflect the sunlight, the sparkle of the water, and the rarefied atmosphere of Cantabria. The east volume houses an auditorium rising to double height and cantilevered over the sea, and to the north, the educational centre: spaces designed with the maximum flexibility to adaptto multiple activities.The auditoriumhas been conceived as a multifunctional box that can host concerts, readings, lectures, but also festivals and ceremonies, while the rooms of the education centre are designed to offer spaces of varying sizes to host future workshops of creative art, music, dance and cookery for both children and adults. In the west volumethe exhibition galleriesunfold on two levels, characterized by a spectacular double viewover the sea and the park. The exhibition space on the upper floor is illuminated zenithally by glass roofingconsisting of four layers: an outer level composed of small silkscreened glass slats which prevent stray light from entering the gallery space directly; a second layer of double glazing which seals the gallery; a third layer consisting of small aluminium louvers automatically controlled by a system of sensors that can be used to blackout the interior and makethe lighting flexible; and lastly, under the main beams, a semi-transparent white fabric that creates a uniform space and diffuses the light while revealing the complex structure of the roof.


An amphitheatrehewn out of the park runs alongside the CentroBotín, its west façade equipped with a LED screen for screenings and outdoor cinema. On the ground floor a fully transparent façade encloses a multifunctional space animated by a café, restaurant, commercial space and the information centre.Here the ceiling is covered with ceramic and the floor is a continuation of the external blueconcretepaving. In this way, the inner and outer space are almost indistinguishable and visitorsand citizens can see the sea and landscape of the bay framed by the broad eaves of the building which shelter the tablesoutside, creating a space for gathering and socializing. Building, park and city are clasped in an intimate bond.

Botín Art Centre

Luis Vidal + Architects (LVA) en tant que Architectes.

A new space for art and culture. An open and tolerant centre


Santander conceives culture as one of the strategic keys in the development of the city. Thus, the Botin Arte Centre is conceived as a new space for art and culture will enhance and become the standard of this rich cultural life. An open and tolerant centre which will perform the function of enriching, social and culturally, the public space of Santander, generating a dialogue with the city and the Cantabric Sea.


Located in the very city centre, the project is organized around three main movements:


The first entails to free this current port area destined for a car park and to eliminate the road traffic, which isolated the plot, by building a tunnel.


The second consists of the enlargement of the centenarian Pereda Garden, doubling its area and extending it up to the very shore of the bay. This action favours the visual continuity between the city centre and the port.


Finally, the third movement is to “land” this art centre on the dock, projecting above the water, as a small ship. A space destined for art, music, literature and cultural exchange.


Under the greyish skies of Santander, the building and its light coloured ceramic tiling skin, the reflected light and the lightness of the projecting volumes, bring vitality to the landscape, creating a brand new range of sceneries around the bay of Santander.


Botín Art Center in Santander will be a new space for art and culture that will encourage the visitor to enjoy the vast proposals of creativity that the city has to offer: exhibitions, concerts, theater, book presentations,

The Centro Botín Art and Culture Gallery

iGuzzini en tant que Fabricants.

The Centro Botín, a space dedicated to art, culture and the various activities of the Botín Foundation, was officially opened in June 2017. The gallery is an important new cultural centre for Northern Spain, and as Íñigo Sáenz de Miera, Head of the Botín Foundation stated, «it will be a major force in generating economic, social and cultural value for the entire Cantabria region».

Built on what was previously a car park in the Pereda Gardens on the Santander seafront, the structure restores the town's close relationship with the Atlantic Ocean.  The first part of the project involved road access and the general restoration of the surrounding waterfront park named after the Spanish novelist José Maria de Pereda. Designed by the Renzo Piano Building Workshop and the Fernando Caruncho & Asociados studio, this project doubled the park area to 48,000 square metres by moving the noisy coastal road underground and thereby safeguarding the park's hallmark monuments, like the Meones fountain and the monuments  to Pereda and Victor de la Serna. UFO pole-top luminaires fitted with Opti Comfort optics were installed to create even, homogeneous lighting with high colour rendering for the various pathways. These optics create perfect semi-cylindrical lighting that makes people more recognisable and generates a general sensation of well-being and safety. In the key areas of the park, the light from these UFO luminaires is also combined with accent lighting effects produced by iPro floodlights mounted on MultiPro pole systems.

The actual Centro Botín complex is located inside this park, directly overlooking the Atlantic Ocean. It has a total surface area of over 6,800 m2 (of which over 2,400 m2 is exhibition space) , divided between two rounded, hull-like forms raised up on slender pillars. These wings are connected by a series of light, steel and glass staircases and gantries that combine to create a structure that seems to reach out over the sea. In the East Wing there is a 300 seat auditorium, lit by recessed Reflex luminaires , and an educational area. In the West Wing the exhibition galleries are located on two floors, both lit from above by a roof made of laminated glass, aluminium and white canvas. At night the artificial interior lighting filters outwards through the glass sections to transform the building into a lantern that reveals the complexity of Piano's design. The exhibition areas, which require high precision and adaptable illumination, have been lit with Palco spotlights, installed on tracks recessed in the ceiling. The result is a pure, sharp, linear, white environment with evenly lit vertical walls. For the entrance hall, restaurant area and bookshop, pendant Le Perroquet spotlights have been installed and are used with a combination of direct emission for general lighting and indirect emission that creates circular effects on the ceiling. The ceiling is particularly distinctive as is covered with the same rounded pearlescent ceramic discs that cover the outside of the building. During the day, this shell of iridescent scales captures the reflections of the ocean and brings joy and light to the often grey and cloudy Santander atmosphere. At night, the same effect is created by iPro spotlights mounted on Multipro poles that illuminate the vertical thrust of these disc walls specifically designed by Renzo Piano himself. Ledplus luminaires fitted with an elliptical light flow distribution refractor have also been ground-installed and point upwards  to illuminate the lower parts of the two wings as evenly as possible, making them look as if they are flying on a glowing halo of light.

Un lauréat du Pritzker Price choisit une nouvelle fois des tissus Mermet

MERMET S.A.S. en tant que Mermet has been designing and manufacturing hi-tech fabrics to provide visual and thermal comfort to building occupants..

Pour rendre hommage à un panorama spectaculaire en bordure de l’océan Atlantique, les architectes Renzo Piano en collaboration avec l’agence madrilène Luis Vidal + Architects, ont ici privilégié la lumière naturelle et la légèreté ; un parti qui nécessitait d’intégrer la protection solaire à la conception même du bâtiment. Pour protéger les collections en garantissant un confort visuel et thermique optimal aux visiteurs tout au long de l’année, une combinaison ingénieuse des tissus Satiné 5500, SV 10% et Karellis 11301 de Mermet a été élaborée.

 

Quand lumière et transparence co-existent
Pour les architectes, il était tout aussi essentiel de :
• faire pénétrer le plus de lumière naturelle possible tout en maîtrisant l’éblouissement,
• maintenir une parfaite transparence, tant vers l’extérieur que vers l’intérieur, pour jouir de cette implantation remarquable qui multiplie les connexions visuelles avec l’eau et le parc,
• protéger les œuvres tout en garantissant aux visiteurs un confort thermique optimal.

Élaborée et installée par le fabricant de stores Resstende s.r.l., c’est la superposition de trois toiles Mermet allant jusqu’à 8 m de haut (soit 300 stores au total), qui a permis de répondre à tous ces objectifs :
• un store extérieur de grande hauteur (de 1,20 x 7,90 m) pour contrôler la lumière et la chaleur : le tissu Satiné 5500 coloris 0201 Blanc Gris filtre 94 % du rayonnement solaire pour assurer confort thermique et protège de l’éblouissement et du rayonnement UV
pour préserver les œuvres exposées,
• deux tissus en application intérieure complètent le dispositif de protection solaire :
- pour assombrir et bloquer les rayons du soleil, les stores zip de 0,8 x 7,90 m équipés de la toile fine et légère Karellis 11301 coloris 608 Chartreux, régulent ici la lumière et permettent une occultation totale,
- pour augmenter la luminosité dans les espaces ouverts, le tissu SV 10% coloris 0102 Gris Blanc a été sélectionné pour sa capacité à diffuser la lumière et sa transparence ; il a été mis en œuvre sur des stores à enroulement de 0,80 x 4 m de hauteur.

A projet d’excellence, tissus d’excellence
Particulièrement adaptés aux nouveaux standards de l’architecture contemporaine et notamment aux baies de grande hauteur comme celles du Centre Botín, grâce à leur composition, les tissus Mermet se distinguent par :
- leur excellente résistance mécanique pour les mises en tension,
- leur classement au feu M1 qui répond aux normes des établissements recevant du public,
- leur excellente stabilité dimensionnelle encore plus importante pour les baies de grande hauteur,
- leur remarquable durabilité avec leur test d'endurance mécanique de 10.000 cycles
Allié de la façade, le tissu Satiné 5500 présente :
- une protection contre la chaleur inégalée : jusqu’à 96% de l’énergie solaire est rejetée en application extérieure (gtot de 0,04
avec un vitrage de référence g = 0,32 et U = 1,1)
- une transparence de haute qualité avec une vision nette vers l’extérieur,
- un confort visuel idéal avec une très bonne maitrise de ̂ l'éblouissement grâce à son tissage satiné en diagonale tout en optimisant l’apport de lumière naturelle : jusqu’à 96 % des rayons lumineux sont filtrés (Tv : 4 %)

SV 10%, pour une transparence et un apport de lumière naturelle optimal

Ce tissu natté allie confort visuel et transparence et permet d’optimiser le niveau de lumière naturelle. Il bloque jusqu’à 90 % des UV et rejette jusqu’à 85 % de l’énergie solaire. 12 coloris sont disponibles en 3 largeurs de 200, 250 et 320 cm.

Projet d’envergure, le Centro Botìn offre à Mermet la possibilité de démontrer à nouveau son savoir-faire unique en termes de protection solaire. Avec des tissus qui garantissent un excellent niveau de performance thermique et optique et qui répondent à toutes les exigences, même en atmosphère marine, l’entreprise française peut faire valoir une nouvelle réalisation internationale prestigieuse.

Read story in English and Español

OCTATUBE GAINS MAJOR ROLE IN REALISATION OF RENZO PIANO’S NEW ART CENTRE

Octatube en tant que Fabricants.

The Botín Centre Octatube has been awarded the contract for the technical design, engineering, production and installation of all glass facades, rooflights, floors and exterior stairways of the Botín Centre project. The building is designed by Renzo Piano Building Workshop (RPBW) in association with Luis Vidal + Architects and shall become a new cultural and international highlight and icon in the port of Santander on the northern coast of Spain. Cantilevering above the sea and situated next to a large park, the Botín Centre will provide space for art, culture and educational activities organized by the Botín Foundation.


Renzo Piano The Italian architect Renzo Piano is known for his work with Richard Rogers and Peter Rice since the seventies and eighties. Among his best known works are Centre Pompidou in Paris, NEMO in Amsterdam, Zentrum Paul Klee in Bern, the New York Times building and The Shard in London. In particular his designs for museums and ingenious daylight concepts are widely appreciated and studied by architects worldwide. RPBW is an international architectural practice with offices in Paris, Genoa and New York City. In 1998 the works of Renzo Piano have been honoured with the Pritzker Architecture Prize. The relationship between Octatube and Renzo Piano goes way back. Before the launch of his own office, Mick Eekhout had worked as an intern at Renzo Piano Building Workshop. In the same office he would show up 30 years later as an expert in the field of glass structures and general director of Octatube. There is a great mutual respect because of the common passion for ‘technical’ architecture and experimenting with materials. During one of the design meetings, Piano concludes: “no excuses, we go for the best quality”.


The Botín Foundation The Botín Foundation is Spain’s number one private foundation both in terms of its investment capacity and of the social impact made by its programmes. Its objective is to stimulate the economic, social and cultural development of society. It engages in the fields of art and culture, education, science and rural development, it supports creative, progress-making talent and explores new ways of generating wealth. Its sphere of action focuses primarily on Spain and especially on the region of Cantabria, but also on Ibero-America.


The foundation is chaired by Emilio Botín, who is the CEO of Banco Santander. For this bank Octatube has realised a circular glass skylight in 2005, and in 2009 a large glass cube for the headquarters of Banco Santander was build in Madrid. With the Botín Centre the foundation will promote the cultural, social and economical development of Santander, like the Guggenheim Museum has effectuated in Bilbao.


About the architect, Emilio Botín explains: “To accomplish it, we have called on the best architect in the world. The architect, who best knows how to link cities to the sea, to build urban spaces, and to generate magical places where art may be enjoyed”.


Glass & duplex steel The iconic building is characterized by two large rounded volumes that are connected by means of glass walkways of which the largest cantilevers of nearly 10 meters above the sea. Octatube has already been involved in the project for a year and the entire building envelop is part of a challenging engineering process ever since.


More than 6000m² of facades and cladding could be divided into larger elements each with their own complexity. On the ground floor a large transparent facade with structural glass fins joins perfectly with the large sloping building volume. The building volumes are featured by very precisely detailed (second skin) facades with high quality duplex stainless steel and structural glazing. A large rooflight is integrated with an ingenious system of lamellae above one of the museum’s exhibition gallery, allowing the space to be naturally lit. The construction of the walkable glass platforms must take into account different loads and movements of the building.


A lot of research has been done to integrate the material characteristics of duplex stainless steel in the architectural detailing. The use of high-end duplex is justified by the need of durability and low maintenance in the marine environment.


In the summer of 2014 the Botín Centre will be completed and opened for the public. Future news items on the Octatube website will highlight the engineering, choice of materials, the development of different prototypes and the construction itself.

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