Pabellón rojo Santa Cruz (Valladolid)

About The Entry

The Palace of Santa Cruz was built and designed by Juan de Nates between 1486 and 1491. The façade and the courtyard constitute the first Spanish Renaissance. In the eighteenth century, the architect Ventura Rodríguez replaced the Gothic windows with neoclassical ones. The restoration work of the monument requires the design of an access pavilion, which protects the entrance, is attractive, minimalist and conceptual. Also prefabricated and transformable. It constitutes a true ephemeral architecture

5 panels:

1. The place and scale of the enclosure: trees and furniture. The square has two areas separated by axis C, the main access to the building. On the right side, a neo-Renaissance garden with a D-axis, with sym-metrical elements (widening, ellipse, trees). On the left side, the composition negates the previous system with convex curves (in red) instead of concave, defining an X-path. The right side corresponds to the Chapel, with an open-plan route and the left to the Aula Triste.

2. RED PAVILION. PROTECTION AND ACCESS. Environment and trompe l'oeil. The environment illus-trates the different points A, B, C, which have been calculated when designing the façade, where the view of the building as a whole or of complete parts of the façade can be appreciated, as we approach.

3. Temporary protective structure. design of the Red Pavilion. Here the conceptual correspondence be-tween the façade and the protection pavilion is verified. The most important thing is the red color antici-pating the vision in the hallway of the Cristo de la Luz, (1630) an extraordinary sculpture by Gregorio Fernández.

4. Analogies, metaphors and contrasts in the design of the Pavilion. The pavilion is something alive that breathes and gets rid of the roof in order to restore the lower part of the façade. Pavilion and trompe l'oeil shine in all their splendour

5. Landscape visualization. The pavilion is also an architecture designed to enhance the landscape and the external environment. Attention must be paid to the conceptual correspondences: façade, landscape, architectural space and pavilion. And backgrounds: red for the Christ of Light (immaterial) and for all metallic material (physical).