Restoration of the Glez Barros Pantheon | Luis Gil+Cristina Nieto

Restauración del Panteón de los Glez Barros Luis Gil+Cristina Nieto o0 historia

Returning life to the funeral architecture.

“The city of the dead men has been traditionally a succinct version of that of the alive ones, and a laboratory of architecture, gardening and sculpture. Of the urns in the shape of cabin to the palatial pantheons or the niches beehive of social grave, the nature and the fractures of a culture can be discerned in his burials.”

Luis Fdez Galiano, Memento Mori.

In this time in which the quality of the funeral architecture continues in his degradation to that of the city of the alive ones it suits to save the traditional and educated tracks of this architecture of other times. Times in which the death was normal and not as Baudrillard it recounts, in that the daily death is interpreted as a diversion, an unthinkable and embarrassing anomaly that to hide unless it belongs to the spectacle of the violence of the war and the disaster capable of being transformed into news.

Location, emplacement and boundaries.

The Glez Barros familiar pantheon of 1925 is inside the definite and closed limits of Sta Maria’s parochial cemetery Sponge-cake in Soutelo’s core of Mounts in the Concello de Forcarei (Pontevedra). One accedes from the principal door walking to the front towards the edge to east of the enclosure. The enclosure of cemetery in this zone consists for the own backs of the buildings that do back with the property and zones free of Soutelo de Montes’s public college.


Architectural and constructive definition of the cover of the building.

The set to restoring is clear of two adjacent and parallel burials that they share a wall. One exterior in granite and other one of Cyclopean walls of concrete masonry re-fed in the shape of pantheon – chapel to his left side. Both constructions were constructed concerning 1920.

1.- The exterior burial, of major antiquity, traditional of educated character in his architectural configuration consists of two funeral tombs superposed with access from frontal tablet where they find the inscriptions. This burial of double height possesses also a lateral front to the right doing front to the access to a small community place of the cemetery.

Constructivly it is characterized for having his front constituted by a working in granite so much in jambs as lintels, as well as the auctions, cornices and general adornments. The rest of the wings are formally joined with the workings granites of the front by a sequence of identical lines of composition from a solution of refodders and focused in cement mortar on factory of brick.

2.- The burial in the shape of pantheon – chapel possesses a spatial configuration is organized by a previous small ship where there are located 8 adult burials and 4 infantile ones and a later head-board by an altarcillo of offerings of a minor height. The previous zone where the burials place possesses eight funeral basic spaces structured in two zones to right and left side with four tombs in height to every side. On both rows other four burials of half of space, two to every side, infantile. To the center of the corridor of access one finds a niche under the pavement of step that it does of space of guarded ashes of former burials.

Constructivly on the outside he does not present elements worked in granite. All the figures and design of formal elements, arch conopial, pilasters, cornices, scrolls, friezes, etc are elements realized by imitation of the common ones in granite by means of cement plasters on Cyclopean walls.

Description of current condition and observed pathologies.

It is important to analyze the works to realizing to separate, the damages and pathologies detected by the passage of time, between that they are detected on the outside and to the interior.


They are observed envejecimientos own of the lack of maintenance in the time in the surfaces of both burials.

In the exterior surfaces of the burial in typology of pantheon degradations are observed and fisuraciones make concrete of important dimension that they demonstrate in wide cracks in the zones of auction. Also deteriorations observe for the separation of the mortars of some ornaments that they are next his detachment. The principal cover and his interior canalón do not realize his impermeable function stopping to go on to the interior of the tombs it departs from the water of rain. The cover of the zone of chapel is.


To the interior of the burial in typology of pantheon they warn deteriorations in the practical totality of the surfaces owed principally to the lack of quality in the finished original one of the surfaces. These were not surfaces fratasadas with pasted I die but realized with plasters of rugose surface on which there were applied as the years went by continuous overlappings of different types of painting, many of impermeable them. The result of this overlapping, without the select one and agreement of the bottom on which they are applied, is that the surface forms before the lack of breathing, bubbles and embolsamientos that end for spoiling and to precipitate the identical one, circumstance that worsens with the sum of caps of paintings of very different nature.

Warehouses of microorganisms are observed, líquenes, mosses and mildews in wide zones, which very probably they have to see with some filtrations and also with thermal differences between massive and empty zones in the niches. Also oxidations are observed in some profiles of auction of the meetings between burials.

Offer of actions reparadoras and of maintenance.

Due to a long and inadequate maintenance in the time there has taken place an aging that is necessary actions reparadoras urgent and deep for the reconstitution of the surfaces so much to the interior as on the outside the funeral elements. These tasks, in the case that occupies us, will have to go beyond a common maintenance since there are done necessary repairs and reconstitutions that take the surfaces, many of them with wide zones fisuradas (on the outside) or for decomposition of the mortars and original paintings (to the interior) to a point zero to begin again a maintenance tidy and ruled in the time that they prevent the appearance of future pathologies of the same sign of the detected ones.

To avoid the water filterings from the cover and canalones one proposes the substitution of the degraded current cover of curved tile for a drafty cover and suspends of zinc. Also under the pretext of relieving formally the presence of the cover with regard to the fronts and of his nature of sky intones with the leaden horizon of this one geographical area. The whole rematería of zinc will respect the links with the decoration of original auction of the pantheon.

There recover also the hollows of the wings of the chapel that had been blocked up and that were obstructing not only the step of the light if not the natural breathing of the place in the testero. A few circular glasses tied with rod are placed roscada that allow as solution the step of the light and of the draught.

Paintings on the outside that recover the double tone and the differentiation of the piers and the decorative motives of the auctions that form the formal structure of the set. Whites broken with pure quoit to 20 % and whites broken to 60% of black.

Retreat of the whole iconography and glass glasses that had degenerated and substitution for a focal circle of marble macael as pure and abstract figure that reorders the set.

Work: Restoration of the Glez Barros Pantheon.
Location: Soutelo de Montes- Pontevedra, Galicia, España.
Authors: Luis Gil Pita – Cristina Nieto Peñamaria. ARQUITECTOS
Building company: Ramón Suárez – Obradoiro Compostela Constructora/ A&T canalón – Cover and auctions of Zinc
Photography: Roi Alonso- Roi Alonso fotografía de arquitectura.
Year: 2016

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Filed under: arquitectura, equipamiento religioso, obras, Inner reform, rehabilitación

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