History

The The Solar of the Barros e Aragão family, located at the top of Rua Sacadura Cabral (formerly Rua Ancha), is believed to have been founded on pre-existing constructions from the 16th/17th centuries, of which some vestiges still exist in the North/East quadrant. Its architectural expression is part of the renewal movement of manor houses and small rural and urban palaces from the post-earthquake period, some of which incorporated campaigns of embellishment works. The dates inscribed on the grand staircase, 1812 and 1826 respectively, may reveal this possibility. In the Loulé Detailed Plan, its reconstruction and rehabilitation are proposed, being referenced as “regrettably degraded, in some places in ruins, presenting numerous additions both in height and width” (Duarte e Lamas, 1986: p.75), which is why the intention of the Loulé City Council allowed for the preservation of what remained of the cultural identity of the property, classified as a Monument of Municipal Interest. It takes on the name “Solar da Música Nova” due to the occupation of the space by the music band “Música Nova”, having been acquired by the Municipality in 2008.

By deepening and interlinking the historical and social knowledge of the building, its previous uses, its typological structure, with its physical constitution, materials and technologies, we were able to gain an indispensable overall vision for an intervention based on a sociocultural perspective. We considered that the new uses to be installed should benefit from and enhance the building's identity memory, thereby valorizing the intervention itself. In this sense, the pre-existing typological base was reinterpreted, adapting it to new needs and clarifying the circulation paths, with special emphasis on the “ambulatory” around the central courtyard. This circuit, together with the monumental staircase, will be the central elements of the spatial identity in terms of circulation, while the three main halls on the noble floor, located on the main facade, have regained their importance as the reference spatial units. The installation of two distinct (but complementary) entities determined that, although they can communicate (in a controlled manner), they will have separate entrances. A new building intended for multipurpose use was erected to the West as an extension of the Solar's ground floor, culturally integrated into the spirit of the place, as a complementary volume, distinguishing itself serenely and harmoniously through scale and proportions. With independent entrances, it benefits from a small exterior arrangement that, during breaks from scheduled cultural sessions, welcomes spectators, visitors, artists, etc. This space seeks to establish a dialogue with the memories of these old manor houses whose surrounding spaces evoked a grammar of pleasure farms and agricultural production, which is why orange trees and a small water tank are found there. The approach to the architectural complex sought to establish a continuous dialogue between two historical and aesthetic periods. The advanced state of degradation of the Solar, due to its profound alteration in the late 19th and early 20th centuries, as a consequence of its re-compartmentalization and expansion through a new floor, and its progressive abandonment, required a demanding technical and cultural approach. The reinstallation of the previous use related to music education required equipping the building with an infrastructure network, indispensable for the proper functioning of the respective installed entities, whose acoustic requirements are crucial, and thus were carefully integrated into the typological structure of the Solar and not the inverse. That is, the aim was to restore the pre-existing spatial identity so that the cultural identity as a unified building—precisely space, expression, and form—is recognized. This avoided the emptying of spatial unity in favor of the exclusive defense of the facades, reaffirming the spatio-functional and volumetric-formal unity. Rescuing the ruin, as a recognized heritage value and public esteem, implied establishing a cost-benefit compromise in favor of the community, and it is precisely this balance that was sought in the options taken. Especially as these allow for an adequate use of the spaces and, on a cultural level, safeguard the heritage memory of this Solar. In both realities, namely the historic building and the new auditorium, the technological approach sought to establish compromises between advanced and traditional systems to achieve balances on two fronts: an energy expenditure balance, seeking to integrate minimal mechanical systems complementary to the building's own constructive scope, which incorporates various passive systems in the thermal and acoustic areas.

Authors:

Victor Mestre | Sofia Aleixo

Architects responsible for the building's restoration