The Concept of Centro Botin

Centro Botin
“The 10,000m² centre aims to promote art,
music, literature and cultural exchange in the
Architects: Renzo Piano Building Workshop region and is estimated to attract 200,000
Location:Santander, Cantabria, Spain visitors a year.”
Category:Visual Arts Center
Area:6823.0 m2Project Year:2017
Relations to natural features (climate, topography,
lights, winds, etc)
Elevated of the buildings don’t interfere with pe-
destrian to go to the water, and also brings a sense
of lightness to the building as it hovers above
grade. The masses are rounded at the corners
which provides the illusion of a continuous wrap-
per from the underbelly to the roof, and allows
light to be better diffused beneath the structures.
Drawing inspiration from natural textures, the skin
of the building is conceived as an oorganic enve-
lope formed by ceramic pieces similar to cellular
growth.
Responses to cultural contexts (religious and social systems
of the local people and their building traditions, cultural
landscape)
Centro Botín seeks not to impose on
Santander’s physical landscape, but will
do much for its cultural one. Its two large
gallery spaces, with their enormous win-
dows onto the sea, draw from and provide
control over natural light to enhance the
works on display, but can also be parti-
tioned to protect more fragile pieces, such
as the drawings by Goya that constitute
one of the opening exhibitions. The centre
also intends to engage with both the local
and international arts community, and will
provide regular workshops like the recent
one with German artist Carsten Höller,
whose mind-bending works make up the
other show to which the centre opens.
There is additionally an auditorium, restau-
rant, shop, and a vast screen on the side of
the building for public viewings, all of which
will hopefully see Centro Botín fulfil its aim
of being not just a centre of culture, but of
creativity and public well-being.
Place for welcoming visitors Place for visual arts

According to Iñigo Sáenz de Miera, director
general of the Fundación Botín, “Building on
our work in the community over the last 50
years, our vision for Centro Botín is to be one of
Spain’s leading arts centers; a lively welcoming
place for people to enjoy themselves, learn and
become inspired, and an engine for generating
economic, social and cultural wealth for the
region of Cantabria and northern Spain.
Place for social gatherings
Centro Botín is a cultural center in Santander,
north-western Spain, designed by Renzo Piano
and primarily focused on visual arts
Place for performing arts
Centro Botín is a two-volume space connected
by a series of steel walkways that link exhibi-
tion rooms and the café/restaurant on one side
with the auditorium and performance space on
the other. It opened to the public in June 2017.

In this way, the inner and outer space are

almost indistinguishable and visitorsand cit-
izens 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.
Spatial zoning
This Centro Botin has 3 spatial zoning of plan
there are cultural perfoming center,gathering
social and cultural visual arts
Circulations
There are circulation for people toward Centro
Botin , light steel and glass walkways intersect
and interlink the two lobes of the building, cre-
ating new public spaces, whilst central stairways
and elevators provide easy circulation between
the educational and cultural programs of the
east volume, and the artistic programs of the
right.
Site analysis sketches
Lesson Learn

1. One of leading art centres and part of the

European circuit of first-rate arts centres, that
stands out for its excellent programme, using
art to improve the lives of people and society.

2. A lively, welcoming place, a regular meeting

point for people to enjoy themselves, learn,
and become inspired, thanks to the diverse
range of artistic experiences on offer for all
types of audiences.

3. An engine for generating economic, social,

and cultural wealth on the Cantabrian coast
Lampa Cultural Center Community meeting place, education, visual
art, and performing arts area that provide na-
ture landscpaing around the cultural center
Architects :
KMAA Arquitectos, emA Arquitectos
Location :
Sgto Aldea 1026, Lampa, Metropolitan Re-
gion, Chile
Clay Brick Material as their identity The project is proposed as a community meeting
place that builds a public space around culture, in
recognition of the nature of agricultural landscapes,
traditions and of Lampa’s own social gathering.
That creates a square with an open courtyard char-
acter, which communicates the urban exterior life
with the interior culture space. A meeting place,
consisting of a curved wall of intercalated bricks,
which acts as a visual filter with the Cultural Center,
creating gardens and intermediate spaces that me-
diate both situations.

The materiality in clay brick, the white of the lime

and the natural stone rescue elements of the place
that recognize their identity.
The program, made from exhibition halls, work-
shops with courtyards and an auditorium as in the
end, is developed on the same level in order to inte-
grate into the urban context, provide fluidity to the
route and adapt to the human scale.

The courtyad become a places for welcoming the

visitors and then after that they go directly to any
places in this cultural center.
The indoor area such as workshop area, performing arts
area and visual arts area. The outdoor area is the social
gathering area.
Lessons Learned

1. The landscaping design between outdoor ad

indoor area become a good transition and also
attraction.

2. Outdoor social gathering area become main

attraction in this cultural center.

3. all areas directly connected with open space

Jean-Marie Tjibaou Cultural Centre Inspired by tradition, formed by modern tech-
nology, this centre celebrates and explains the
Melanesian culture of the Kanaks. Response to
Architects : Renzo Piano sea and site have generated a heraldic dance
Location : Peninsula off of Nouméa, New reflected in the waves.
Caledonia
Category : Cultural Center
Area : 8550.0 sqm
Relations to natural features (climate, topography,
lights, winds, etc.)
The cultural center built as a tribute to the culture
based on respect for its history and traditions, past,
present and future as well as its sensivity. Built to
celebrate the forth coming independence of Pasific
Island. Cultural center named after Jean-Marie Ti-
jbaaou the leader of independence movement who
was assassinated.
From the beginning of the design process Piano
had studied the use of air currents and searched
for ways of expressing the Kanaks culture with a
modern language. Looked at the traditional Kanaks
hunts for inspiration well as building construction.
These buildings have a curved shape that referenc-
es traditional Kanak constructions but here rather
than the traditional woven vegetable fiber, these
buildings are made of wooden ribs and slats: tra-
ditional exteriors inside of which all the benefits of
modern technology are provided.
Piano’s decision to use iroko, an African wood,
for the pavilions’ external ribs has been criticized,
sometimes; yet, the Italian architect says iroko was
preferred over local wood because of its peculiar
durability, low maintenance, and termite-repellent
properties in tropical climates.

Piano’s concept emphasizes the influence of site

and environment as determinants of design and
performance. The form of the shells negotiates a
blend of traditional construction methods and a ta-
pered, dematerializing profile that beautifully plays
off the texture of the surrounding trees. Exterior
voids worked into the plan and fenestrations in the
building envelopes physically open the project to
the site and deepen the inhabitants’ sense of place.

An intelligent passive ventilation system removes

the need for air conditioning, making the build-
ing’s clean, natural air supply an experiential part
of the Center’s design. Even the interrelationship
of building clusters, arranged in a layout similar to
the grand allée plan of traditional Kanak villages, is
dependent on a continuous stream of movement
between enclosed and exterior spaces.
The structure and above all, the functionality shops, storage areas, administration offices, a
of New Caledonian huts were reproduced and shop, and various visitor facilities.
adapted, architecturally as well as socially. There
are ten huts, of three different sizes, from 20 to Along with the permanent exhibition focused
28m in height, all interconnected by a footpath. on culture, contemporary art and heritage of
Within the Cultural Center, these huts serve the Kanak people and, in a broader sense, of
various functions. The first group comprises Melanesian populations, the Jean-Marie Tjibaou
exhibition spaces, the second series of huts Cultural Center features a program of activities
houses research areas, a conference room and and events which includes temporary exhibi-
a library. The last series of huts contains studios tions, site-specific art installations, concerts, film
for music, dance, painting, and sculpture. screenings, theatrical performances, dances,
festivals, local markets of food and craft objects,
The pavilions are divided into three main func- educational programs, creative workshops, and
tional groups. The first group accommodates special events.
exhibition spaces focused on the Kanak culture;
the second group contains a conference room,
a library, and a media library; the third group
houses studios for music, dance, painting, sculp-
ture, and applied arts; finally, the tenth pavilion
contains a cafe. The center also includes a 400-
seat auditorium, an open-air theater for 4500, a
pavilion for temporary exhibitions, artist work-
Modern technology is used to enhance traditional con-
struction techniques, thus the ribs are made of laminated
iroko instead of vernacular palm saplings, and are linked
by horizontal tubes and diagonal tie-rods of stainless
steel. The particular forms are achieved by integrating
regional culture and alien influence.
Lessons Learned
1. The structural model of Jean-Marie Tjibaou
Cultural Center shows that modern technolo-
gy is used to enhance traditional construction
techniques.

2. Creates a link between the high-tech and

the vernacular through a successful fusion of
material, form, technology and planningideas
borrowed from the vernacular knowledge of
the Kanak tribe.

3. The design maximize the ventilation in a humid

climate