The Trinitaris Church in Vic, dated in 1741 with a baroque style, has come to our days with signs and wounds of the past time lived: the fires of the spanish civil war, living black domes to the performances made during the second half of the twentieth century, having a theater with full technical equipment, now in days obsolete.
In a setting full of important historical and social preexisting for the city, the new uses, from conferences, social acts, expositions or concerts for aprox. 500 people, ask for urgent sanitation and rehabilitation operations for the roofs, going also through the update of electric systems and air conditioning, as well as the value recovery of interior space in the church and it´s adaptation as a flexible and conformable device.
Returning to a state close to the original; liberating the space free from scenographic noise, (temporary partitions, metallic structures, tarps, lights, etc) and once undressed, work exclusively with the metal and the light. All the new elements necessary or impossible to recover (furniture, stage, access doors, floor, etc) have been built with deoxidized steel (accepting the calamine that remains from the industrial process as an element of color variation) and perforated dichromate plates all of them put in a respectful and sober way, but clearly grouped as a new layer of changes added to others accumulated in the enclosure. The light with different qualities and intensities, grouped in lower, higher, direct and indirect bands, background and entry, has allowed us to built with only one space “ten different churches of the Trinitaris”.
We mention the following actions:
-Introduction of a sequence of white gargoyles along the cornice, fitting ventilation and illumination mechanisms and sound preinstalation, at the same time making more slender the proportion of the interior space leaving the height thinner and longer by the ground reflection.
-Painted the cornice white till the ceiling and the rest with a neutral green leaving small reserves of time (burgundy paint remains, black from the ashes of the walls, white lines that remember some cladding) as well as the religious paintings of the apse and the side naves.
-Placement of a pavement of iron sheet 1x3m and joint of 1.5mm along to whole surface, turning into a seat, hiding the heating system, when getting to the side walls. The ground parts are varnished with bicomponent paint highly reflective. The treatment of the seats is satin.
-The installation of an altarpiece of more than 7m of height in the apse, building a final visual of the entrance, covered with a golden plate, folded and perforated to remind the old organ pipes, currently installed in Santa María del Mar. In subsequent phases will be added a double curtain system currently preinstalled.
-The transparency of the new door of the entrance, allows an extension of the perspective to the street of Sant Pere, giving it a second natural light source and opening the chorus to the city, as the new uses claim.
View video at www.roldanberengue.com or
http://www.youtube.com/watch?v=szaX9uIfcQM
(photo: Jordi L. Puig)