Carmen Garcia-Pitarch Lopez

Originally from Valencia, Spain. Graduated with honors from Brenau University, United States (2016-2020), receiving a Bachelor of Fine Arts in Interior Design. During 2020, worked in the industry as a 3D rendering artist in Spain on large scale residential projects. In 2021 resumed her studies with an MA in Interior Design at the Royal College of Art, London (2021-2023).

Specialized in the area of “Reuse”, she believes that both in architecture and interior design, it is key to understand the building and the space we are working with. Focused on exploring the idea of a ruin, she amends, translates, understands, and develops a new proposal to transform the ruins of Nettelham Hall, Lincoln, UK.

2022 exhibitor at the Royal Academy of Arts for John Hejduk's London Masque. Collaboration with Tongshan Tang, Tianheng Zhao, Rui Qin, Xiao Sheng

Beauty is not objective. Beauty is something subjective to the eyes that see it. Perhaps the most objective less sensitive eyes do not have the ability to see what is unique in simplicity, what is broken by its distinction, the passage of time, the perfect in the imperfect. Ruined and deteriorated, yet filled with history and growth in every corner; that’s the beauty of Nettleham Hall. It is one of those places that transports you to that museum where you spent minutes staring at your favorite painting. A moment where it was just you and the art. Not out of obligation, but because you were enjoying the view. For me, it was a twenty-minute stare at what Peter Zumthor describes as “architectural quality”, a building, a ruin that simply because of its beautiful, natural presence, has the power to move you.

I believe that both in architecture and interior design, it is key to understand the building and the space we are working with. Learning from its past to design for its future. For this reason, during the past few months after an intuitive translation of my experience on site — “framing the view” —, I have been analyzing the works of Matta-Clark, Noguchi, Zumthor, and Pallasmaa to identify my logical approach during the process. It is then when I realized that whatever the new use for the ruin was, I want to nourish that tranquility and emotion that site evokes.

Starting off by learning about the English House during the Victorian Era alongside Nettleham Hall history, followed by a broad research on presidents and the surroundings, the proposed use for the ruin is a restaurant. Nettleham Hall will introduce an original master’s program to Lincoln “School of Food and Hospitality” where during the spring-summer term students will work in an environment where they are completely connected to the ingredients, and slow all-day cook. By rehabilitating its greenhouse and kitchen gardens, they will learn and experience the process of home-grown production and authentic elaboration, creating a more sustainable and environmentally responsible menu of proximity.

The ambition of breathing new life into this magnificent agricultural building, keeping its core structure and reconnecting with the land and its past. The love for nature, beauty and conversation, through generations to come.

The Venus of Milo was chosen for this brief project. At first glance it is evident that she is missing two arms. The relationship between the golden ratio and human proportions, led to question “what is beauty” and “how can it be found in the broken”.

Through investigation and observation (and a little bit of imagination), the Venus of Milo loses her uniqueness, elegance and beauty if her arms were to be put back together.

How could it be amended? By embracing her imperfections and comprehend that beauty can be found in the broken.

The Venus wrapped in her own packaging with a fine black thread which highlights her missing and broken parts was the final outcome of this brief project.

A site visit was scheduled on the 10th of November during which, while exploring the ruins of Nettleham Hall, an area of interest was to be chosen and relate it to the amend project. The selected space was a small room by the kitchen on the north facade of the building. Like the Venus de Milo, the body (walls) of the room is still standing but it is not until after gazing around, these walls lead the sight to look up and notice that the room’s missing the roof.

The spatial response to this finding was interpreted through a series of intuitive models which by placing the walls in different directions, new combinations would provide new perspectives.

A 1:50 scale model that simulates the original viewing point merged with other wall placements, responses to how the ruin itself has the power to frame the view.

A series of archives and up to date photographs document what once was and what it has become in order to perceive the space.

Besides determining that historical use of the site was hunting and farming, exploring the near surroundings was key to determine the new use of the Hall. Starting off by locating a an award-winning eatery and guest house, The Old Bakery restaurant is now owed by Lincoln College (Lincoln School of Food and Hospitality) to grant level three college students the opportunity to work alongside the Head Chef as part of their finishing school preparation to enter the workplace. Mashama Bailey’s quote “Living wit

L'Horta

Garden to table

A fine dining restaurant with a new training concept will bring customers to experience a menu focused on seasonal organic products locally sourced, and help young people develop their culinary skills. The ambition of breathing new life into this magnificent agricultural building, keeping its core structure and reconnecting with the land and its past.

Nettleham Hall will introduce an original master’s program to Lincoln “School of Food and Hospitality” where during the spring-summer term students will work in an environment where they are completely connected to the ingredients, and slow all-day cook. By rehabilitating its greenhouse and kitchen gardens, they will learn and experience the process of home-grown production and authentic elaboration, creating a more sustainable and environmentally responsible menu of proximity. The ruins will bring customers to experience a menu focused on seasonal organic products locally sourced, and help young people develop their culinary skills.

The strategies of intervention and insertion were considered to be explored on site. Starting off with some conceptual sketches and key words selection.

The demolition plan shows the original building plan and which walls are to be demolished and constructed on the ground level.

As seen on the plan, the layout of the space is built to fit within the original structure. The purpose of this is for customers, and visitors to acknowledge the broken, beautiful, ruined appearance while enjoying a nice meal or simply gazing around the site. Demolishing some of the interior walls provides a transition to a mezzanine level where a bar, outdoor terrace and private dining is distributed throughout the space providing an open view down to the main dinning and food preparation areas.

The intervention of the site emerges from questioning “what if the site is treated as a sculpture?”. A 1:200 scale model simulates how the site is put on a plinth. This concept evolved into excavating down, presenting a new interior where not only restaurant customers but a public audience can enjoy a drink or coffee from the bar.

The materials chosen for this project are a combination of green coated steel and tiles, wood surfaced furniture, mortar used to reinforce the original structure and new construction to honor the essence of the place, creating a continuity between the exiting and the new. L’horta becomes a characterful combination of restored Victorian greenhouse and modern design to create a picturesque smart-casual ambience.

Carmen Garcia-Pitarch Lopez

L'Horta

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Royal College of Art