무엇이 느껴지나요? 빛, 그림자, 시간, 그리고 이 모든것이 남겨진 공간. 오래된 공간 속에 남겨진 것은 건축이 쓰여진 자리에 대한 아련한 향기. 여기 마드리드에 위치한 1907년대 지어진 도살장은 그러한 의미를 현재의 공간 속에 투영한다. 과거의 기억으로만 묻혀진 도살장은 최근 60여년간 식료품 저장소로 사용되었으며 이를 다시 관리자를 위한 사무실로 리노베이션 한다. 시간 그대로를 간직한 공간은 이제 강의와 발표를 위한 다목실과 웨어하우스 그리고 관리자들을 위한 소규모 사무공간으로 구성된다. 그렇게 공간을 구획하는 벽, 지붕은 과거의 재료로 현재의 공간을 형성한다.
reviewed by SJ
In a small nave of the old slaughterhouse of Madrid, nave 8B, the tiles of a roof in disrepair have been removed, piled, and brought inside to meet a need. This could be the summary of this intervention.
The slaughterhouse of Madrid was designed around 1907 and built
during the second decade of the twentieth century by Luis Bellido,
municipal architect. For nearly sixty years it was working as a large
pantry in the downtown area. Throughout this time, it demonstrated its
functional virtues and its spatial qualities. More controversial has
proved, over the years, the style applied to the facades, far from the
first approximations to the Modern movement that were explored in this
type of industrial buildings in Germany, Holland and France. From the
eighties, the slaughterhouse was moved to the periphery of the city. The
small “industrial city” projected by Bellido fell into neglect and
oblivion. In recent years the city of Madrid wants to convert this
deteriorated complex into an avant-garde, cultural engine for the city.
Architects: Arturo Franco
Location: Legazpi, Madrid, Spain
Project Area: 1,000 sqm
Project Year: 2009
Photographs: Carlos Fernández Piñar
Collaborators: Diego Castellanos (arquitecto de interiores), Yolanda Ferrero. (arquitecto)
Technical Architect: Jose H. Largo Díaz. DITE SL.
Client: Concejalía de las Artes del Ayuntamiento de Madrid
Construction: PECSA.s.a.
Execution Schedule: 8 months
Budget: 500.000 €
The nave 8 B is the space for administrative management. A small
working area, a warehouse and a multipurpose space for lectures or
presentations. Originally, they were support areas for the storage of
the remains produced in nave 8, where skins were dried and salted. It
was a smaller nave but with an interesting space.
The priority of the intervention was to restore a flat tile roof, make a structural reinforcement, and condition the interior, thermally and acoustically, to serve new uses. This process had been carried out before in some other naves of the slaughterhouse, and as a result, mountains of debris accumulated, from tiles, timbers, cobblestones, and granite slabs, waiting to be taken to the landfill.
I would think that this project arose from opportunity. From having discovered an opportunity in those ruins.
On the way to explore all reasonable possibilities, the
construction system becomes a generator of the project, in a place where
there is a specific ethical stance towards rehabilitation and
architecture.
How does that found object work? How does the flat tile work? How
is it stacked? How is it prepared? What are its organoleptic
characteristics, its weight? How are they joined? These are some of the
questions that arise in the process. The absence of some elements
produces lattices, the passage of light. Sometimes a whole piece for the
walls, half a piece for the finishes. The problem of the corners, the
lintels. The universal problems of architecture appear. At the same time
and with the same intensity are also labor and imperfection. The
imperfection of man and the old, the recovered. I recall a naïve order
for the work: “Jose, twist yourself, it does not matter”, and a
response, a lesson from the manager: “I do not twist, for that there is
always time.” A work of many full of vibrations. The vibrations of the
collective artisan, the artisan claimed Richard Sennett.
Like the forest hut by Swedish architect Ralph Erskine, in which
he piled trunks for protection from the harsh winter, this project is
also bioclimatic. It is bioclimatic because the tile contributes to the
thermal and acoustic comfort, and it is sustainable because it reinvents
itself with what is available. It is bioclimatic like small town
architecture, as the hearth-fireplaces clad in ceramic found in the
province of Soria.
It is an intervention that aims to respect a valid spatial configuration, without changing it. It is proof of the power of architecture as a qualified container, regardless of its uses. A classic, eternal concept of space, nothing to do with classicism, nor necessarily with Italy. Facing the style, supposedly “national”, that Luis Bellido applied to façades, in this case inside, the style is diluted, disappears as heir to the former School of Madrid. Order, opportunity, engagement, contention or clarity without any a priori formal will. A land unknown to me, beyond the project, beyond any intention. The role of the architect takes a step back, is removed from the architecture on time. History is pendular or helical, if we understand it in three dimensions.
This project undoes some paths traveled, intends to reach
meeting points. It advances receding, as the rowers, looking back, as
Oteiza explained. From Moorish tiles, from the woman’s thigh as a mold,
and its manual placement, it moved on to an industrialized application
and its flat version. Now industrial elements, inert, are understood
differently, decontextualized and placed with the unpredictability of
manual labor.
This project aims to understand architecture as an intellectual, cultural, and ethical experience. Not to be confused with social or political positioning.
from archdaily