Francisco MANGADO

Archaeology Museum of Álava+


Vitoria, Álava-Spain

5.000 m2

The basic form of the building is determined by its context and the continuity, both in terms of concept and program, which it establishes with the adjoining Palace of Bendaña, currently the Naipes Fournier Museum.

In the permanent exhibition halls, all horizontal surfaces, floors and ceilings, are very dark. The wood floor (almost black) and the continuous ceiling (also black) form a closed and dark ‘box’ or chest delimited by the facade walls clad externally in a folded skin of bronze sheet, with pieces that are superposed or stepped depending on the lighting needs. 

But these dark spaces are traversed by white glazed prisms – round which the exhibition of pieces is organized – that shall draw light in from the roof at daytime, coming from an internal illumination in the darkness. These prisms shall be inlaid with graphics and information to describe the items, but beyond this pedagogical task, their light will speak of the adventure of interpretation, the metaphor that makes reference to light in a dark space, to the hope of being able to interpret aspects from our past.

Towards the interior of the plot, the access courtyard is configured by more transparent boundaries: it is the bronzed skin that opens up with constant rhythm allowing space to signal visitors into the exhibition areas.

Vitoria-Gasteiz, Álava, España

AIT Awards 2012. Public Buildings (Museums) Category
AIT Awards.Top 3 Winning Prize: Archaeology Museum of Álava, Vitoria
XI Spanish Architecture and Urban Planning Biennial
Spanish Architecture and Urban Planning Biennial.Finalist Project and expressly acknowledged by the jury: Archaeology Museum of Álava, Vitoria.Selected Project: Municipal Exhibition and Congress Center of Ávila.
Spanish Architecture Award 2011
Spanish Architecture Award awarded by the CSCAE (Superior Council of Colleges of Architects of Spain).Finalist Project: Archaeology Museum of Álava, Vitoria.
FAD Awards 2010. Architecture and Interior Design Category.
FAD Awards.Finalist Project: Archaeology Museum of Álava, Vitoria.
COAVN (Basque-Navarrese) Awards 2010. Civic Construction Category
COAVN Awards.First Prize: Archaeology Museum of Álava, Vitoria.
X SALONI Awards. Architecture Category
SALONI Awards.Finalist Project: Archaeology Museum of Álava, Vitoria
THE INTERNATIONAL ARCHITECTURE AWARDS. Awarded by the Chicago Athenaeum (Museum of Architecture and Design) and the European Center of Architecture, Art, Design and Urban Studies.Prize: Archaeology Museum of Álava, Vitoria.
XIV Edition European COPPER in Architecture Awards
European Copper in Architecture Awards.First Prize: Archaeology Museum of Álava, Vitoria.
Competition for the Construction of the Archaeology Museum of Álava, Vitoria
First Prize.
ISSN: 2421-2687
Fondazione di Venezia (Italy)
ISBN-10: 8842222984
ISBN-13: 9788842222989
La galerie d'architecture Exhibition Catalog
Future Arquitecturas #41-42
UED Urban Environment Design #074
l´industria delle costruzioni #429
Blu Print. Special Issue 2. 2012.
Mega Publishing Group. Manila (Philippines)
AMC Hors-Série
Le Moniteur Editions. Paris (France)
Minerva #18: Revista del círculo de Bellas Artes
XI Bienal Española de Arquitectura y Urbanismo. Lo próximo, lo necesario.
Caja de Arquitectos. Barcelona (España)
Architectural Record #7, 2011
Catálogo Exposición Innovación Abierta. Arquitectura Española Contemporánea.
Museo del Canal Interoceánico de Panamá. Panamá
Archilepsy, volume one, issue four.
Speech #8: Details
EC Equipamientos culturales #32: Meeting centers
Carlos Gonzalbo & Asociados, Madrid (Spain)
Arch Manual. Design + Concept + Script + Process
AADCU Publication. Beijing (China)
ISBN-10: 7560960405
Catalogue of The 2010 COAVN Architecture Awards
Catalog of the 10th Saloni Architecture Awards
Saloni. Castellón (Spain)
Detail #4/2010
Baumeister B4 #107
Oris #61
Architecture Now! Museums
a+u Architecture and Urbanism #473
A&C Book
Formas de proyectar #6
Formas de Proyectar Ediciones S.L.. Tajonar (Navarra)
The Architectural Review
EMAP Communications. Londres (UK)
Vía Construcción #74
TPI. Madrid (Spain)
Darco Magazine, Francisco Mangado Monograph Special Edition #16
nan arquitectura y construcción #46
TPI. Madrid (Spain)
Copper in Architecture Awards Catalog
Copper in Architecture. London (UK)
Arte y Cemento #13
Domus #28
On Diseño #303
The Architectural Review #1348
The Architectural Review, London (UK)
AV. Monografías #133
Arquitectura Viva #123: Museos Ciudadanos
LKS Soluciones #12: Espacios de trabajo.
The Plan #38
Cooper Forum #27
Lennart Ensgtröm. Sweden
Estructuras para edificios singulares españoles
ACS. Madrid (Spain)
Future Arquitecturas #7
TC Cuadernos 72-73: Francisco Mangado. Arquitectura 1998-2006
Opere e progetti: Francisco Mangado
Mondadori Electa. Milan (Italy)
ISBN-10: 9788837031879
Arquitectura Ibérica #4: Museos
Caleidoscopio, Lisbon (Portugal)
ISBN-10: 9789728801472
Exé #4: Textures Métalliques
Architectures à vivre. París (France)
Arquitectura COAM #338
Colegio Oficial de Arquitectos de Madrid. (Spain)
ISBN-13: 2910010295885
ISSN: 0004-2706
Arquitectura Viva #77: Mil museos
Municipal Auditorium of Teulada
Teulada-Moraira is one of those municipalities divided into two separate physical units. It could well have been called ‘upper’ and ‘lower’ Teulada, or ‘upper’ and ‘lower’ Moraira. The built area of Teulada is in the mountain, and that of Moraira is further down, following a valley of some five kilometers along the Mediterranean shores.The building of the new auditorium acts as a hinge between the two physical areas of the municipality. A reference that allows seeing and being seen from both spots. As far as hall types and complementary uses are concerned, the program is simple. The organization and layout of the pieces undergoes a total geometric and spatial transformation towards the southern facade that, being oriented to the sea, becomes the most singular and significant element of the project. Its depth gives it a sense of architectural section that urges to follow a three-dimensional interpretation (in terms of space), instead of a restricted two-dimensional scale. In metaphorical terms this facade evokes topography similar to a beach of stone that, from a distance, and with all its depth, appears to merge into the sea. In more practical terms, its deep and cracked geometry emerges from the study of the impact of the sun and the geometry it generates, especially during summer, so its final configuration aims to avoid the impact of sunrays in the interior. The base of this “facade” is a large exhibition hall that, as a sort of “cellar” that is softly lit by the rays that manage to make their way through the thick vertical concrete grille, fresh in summer and warm in winter, may provide the southern facade - based on more conceptual references - with a functional argument.The building shall be seen from a distance as a volume covered in tiles, like fish scales. Matte tiles that will be attached to the concrete walls. The shifts, setbacks and projections of the facade that is oriented towards the sea will be made of sandblasted marine aluminum sheet. Different spots of light, made of optic fiber, will be a value added to the volume seen from afar or from the water.
Municipal Exhibition and Congress Center of Ávila
Ávila is a dense and intense city. Its layout, centered and delimited by the smoothly crafted city walls, confirms this perception. Actually, Ávila itself is a rock amid the harsh landscape surrounding it.Within such thickset contexts, any clear space takes on an added value much related to the concept of contrast or of boundary. In such cases a square serves as a means to free up interior space, and externally, to articulate the relationship with the city walls. The area outside the walls belies the origin of these voids that organize the space between the city inside, and the city outside. The presence of an open space at the foot of the walls, where the new Congress Center shall go up, allows thinking of new systems to structure the urban space.During the project design the guiding principles were conceptual density, generosity in the way of occupying space, and exploitation of the topographical features of the site. The landscape studded with granite pieces, both formally and spatially, provided the references needed.The Municipal Congress and Exhibition Center is aimed at becoming a meeting place to celebrate different kinds of events, a levelled area or plaza at the edge of the walls. The main level of this area is matched up with the highest point of the plot, so that its extension generates a large interior void that shall house, without excavation, the required uses.The building basically takes up the northern side of the new public space, delimiting along with the walls the new square. In keeping with the contours of the site, the project combines two different geometries: the most orthogonal and elongated space contains the auditoria and main halls, while the most precipitous and uneven one contains the exhibition spaces.Entry to the complex is clear and easy: the main auditoria are reached from the square and from the higher part of the seating area, which allows to get a quick grasp of the interior space; and the exhibition areas have an independent entrance from the incisions on the platform in the eastern boundary and, since all the different areas are connected under the square, they can also be reached from the interior of the building. From a formal and constructional point of view, the project draws inspiration from the evocative strength of the landscape, from the granitic mass that pervades everything.The volumes are meant to be seen from afar, high up from the walls like a sculpture carved out of the terrain. It is a juxtaposition of granite volumes, summed up in one piece, a more orthogonal one, cut and carved in a precise manner, and another more abrupt and topographical piece that covers the exhibition volume. For this reason the roofs shall be designed to smoothly extend the vertical surfaces. These folds generate the incisions through which natural light floods the interior, also allowing independent access to this area.
Spanish Pavilion Expo Zaragoza 2008
Evoking the space of a forest, or of a group of bamboos on a surface of water, has been the main aim of the project. On the one hand there is a desire to create a building mechanism able to generate incredible possibilities from the point of view of energy logic and environmental awareness, an essential and symbolic aspect for the future Spanish Pavilion at the International Exposition of Zaragoza. But on the other hand, one of the most attractive spaces one may have deal with, both in terms of matter and light, is transferred to the field of architecture. Changing spaces, spaces full of hints and nuances where concepts such as verticality and depth play an essential role.Is the artificial reproduction of a natural process possible? This is an old, unattainable aspiration of architecture. However, in this case this approximation is possible because the geometric strength of the metaphor performs in our favor, and the image suggested gives the proposal a symbolic charge that is necessary in the case of a pavilion, that of Spain to be more precise, for an international expo. The metaphorical allusion, in which water is present through the landscape of reference, is strong and evident.

 Construction. Pieces.
The process is clear and simple. The vertical elements may be manufactured in a workshop. They have a metallic core clad in pieces made of clay that, in contact with water, absorbs it generating air currents that act as microclimates (see corresponding project descriptions and schemes).Its bracing, to ensure structural unity, is very simple and based on the same method used in many nurseries to maintain trunks vertical.Roof.
A huge roof, supported off by all these profiles, covers the pavilion. It is a useful roof because its width (three meters) allows to accommodate energy saving systems (see project description) and, at the same time, adjust light with the help depth, which makes the sunrays, very controlled, draw their trace and reflection on the columns and the water surface at the base. The roof is clad in panels of recycled wood shavings.Exhibition Spaces.
They are carved out voids. Their slabs hang from the large roof, braced only to the columns. They are built with beams of recycled wood shavings and resin. The exterior enclosure is also of glass. A system of mobile partition walls will be anchored to the structure, with the visual and acoustic insulation needed for the development of certain exhibitions and for the future cinema center.
Congress Center and Hotel. Palma de Mallorca
The scheme for the new Congress Center and Hotel of Palma may be explained as two large stretches that unfold following the north and south boundaries of the plot fronting the sea. Two stretches of wall devoid of physical density but endowed with functional and architectural relevance. The one facing northwards contains all the facilities that complement the main program, as well as the supplies and staff access areas. But the most important one, the one facing south and towards the sea, shall be a deep facade, a facade-space formed by a dense vertical structure that evokes the density of the walls (of four meters in depth), shelters the interior from the direct entry of light and yet allows to accommodate staircases (in some cases escalators), which afford views of the sea horizon as they go up or down. These connecting elements reveal their presence towards the exterior in the form of large glazed screens set in the overall fabric.The depth of the façade on the lower floors allows to fit in the accesses, thereby highlighting the transition between interior and exterior and also accommodating retail areas that, located right next to the exhibition spaces, look onto what will become the new seafront boulevard.The linear distribution of the program enables the different areas of the building to perform and be used in a relatively independent way. The public accesses are located basically on the facade that extends Manuel Azaña Street, underscoring the relevance of the same, and in the seafront promenade in the case of the auditoria, and along this last one for the exhibition areas.On the one hand, the project design aims to make the most of the light of Palma generating a series reflections and defined shadows, and, on the other, it plays with the image of a large beached fish, of well-defined forms and geometries but with a subtle transition that manages to explain the continuous geometry of the roof itself, only interrupted by the suspended garden of the restaurant that rises as a large lookout with direct views onto the sea and the coastal promenade.