BODEGA DUSSART PEDRÓN
BODEGA DUSSART PEDRÓN
2018 | Los Pedrones, Requena - Valencia
Rehabilitación bodega Dussart·Pedrón
Embedded Files
Equipo | Team
CRUX arquitectos
Arquitectos | Architects
Raquel Sola Rubio + Alejandro García Pedrón
Consultores | Consultants
Davinia Bonanad
Constructor | Builder
Fotografía | Photography
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PREMIO COACV 2019 | INTERVENCIÓN EN EDIFICIOS EXISTENTES
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Publicado en / Published in
ARQA, VEREDES, AFASIAarchzine, DIVISARE, Plataforma arquitectura, Archdaily.
Texto | Text
Texto | Text
En la línea de tiempo de las edificaciones hay muchas vidas diferentes, y todas marcan de alguna manera a las siguientes. Las mismas construcciones, los mismos paisajes, en momentos diferentes son percibidas de manera diferente; vividas, al fin y al cabo, bajo otras circunstancias. En esas vidas, además de pasar por usos diferentes, transformaciones, abandonos y renacimientos, se pasa por asociaciones psicológicas diferentes: añoranza, desapego, complejos de inferioridad o grandes esperanzas. Lo que es importante saber es que esa línea, con toda su carga material y emocional, lleva hasta el punto actual, y que si ella se rompe ya no podremos hablar de "lugar", en toda su amplitud.
Construir desde la memoria es incluir esas fases sin quedar atados a ellas; es entender el cuaderno de bitácora a pesar de estar en otra travesía. Es asimilar que el famoso folio en blanco del difícil comienzo no es tal si recordamos todo aquello de lo que partimos.
La "Bodega Dussart Pedrón" es el nuevo espacio surgido tras la rehabilitación de una antigua construcción familiar que ha tenido ya muchas vidas.El espacio actual, de 156m2, fue en origen un corral, un volumen alargado de una planta con un gran patio anexo. Posteriormente se transformó en bodega, reutilizando la nave del corral como almacén de depósitos, y rellenando el patio aledaño para crear un espacio en un segundo nivel desde el que elaborar el vino y verterlo a los depósitos por gravedad. En los años 60, al crearse la cooperativa del pueblo, la bodega dejó de elaborar su vino para convertirse en almacén. Hoy, sus descendientes regresan desde Francia dejando una vida atrás, para rescatar la antigua bodega familiar que levantó un día el bisabuelo, rescatando también el vino de elaboración propia que se había abandonado.
La intervención trabajará el paso del tiempo como un material más de construcción, sin esconder esas cicatrices. En ese lugar-territorio se insertarán las nuevas instalaciones, empleando materiales fácilmente identificables y asociados a nuestro tiempo. La construcción original se revisa, actuando de manera personalizada con cada elemento. La cubierta mantiene su estructura de rollizos original sobre la que se aplica un tratamiento al agua, el cañizo se sustituye por listones de madera machihembrados, las tejas se limpian y vuelven a colocarse en su ubicación. La fachada norte, que aún muestra las trazas de su pasado como corral, se mantiene así, con los huecos cegados. En el nivel inferior, donde la familia comenzó a elaborar sus vinos hace más de cien años, se redescubre el muro de ladrillo de los depósitos originales.
Sobre este lienzo de recuperación de lo existente se estructura todo el nuevo programa, basado en tres espacios relacionados. El nivel 0, marcado por la cota de acceso en la fachada este, ocupará la antigua ampliación, que se destina a la elaboración; desde ella se accede a otras dos salas, situadas en dos niveles en la nave oeste: el nivel -1, de antiguos depósitos de hormigón, se transforma en la sala de guarda de la bodega, aprovechando su inercia térmica para la maduración en barrica, mientras que el nivel +1 se plantea como zona de recepción de la uva, e integra los servicios y laboratorio, y un nuevo vano que perfora el muro de mampuesto.
Estos niveles se redefinen en base a una estructura de hormigón armado que consolida la construcción y la refuerza, posibilitando el nuevo uso. Las escaleras y el montacargas se colocan en el centro, rodeando el pilar y creando una pieza central. Los nuevos paramentos se realizan en pladur blanco; se insertan como un elemento perimetral que rodea el espacio, integrando los servicios y permitiendo que las superficies sean lavables para el correcto funcionamiento de la bodega. En el espacio entre estos dos elementos se coloca la iluminación ambiental, que potencia la textura de los muros y los rollizos de cubierta, pero que también remarca esa separación, esa distancia.
Esta intervención supone una capa sobre la construcción, sólo rozando, como una instalación reversible que al tiempo dibuja, un folio en blanco sobre el que recomenzar.
Texto: Ana Asensio
COACV AWARD 2019 | INTERVENTION IN EXISTING BUILDINGS
In the timeline of a building are many different lives, and each one paves the way for the next. The same constructions, the same landscapes are interpreted in different ways at different times; experienced, at the end of the day, under other circumstances. Within these lives, as well as going through different functions, transformations, abandonment and rebirth, different psychological associations are experienced: nostalgia, disregard, inferiority complexes or great hopes. What’s important to know is that this line, with all its material and emotional baggage, leads up to today and if broken, makes it impossible to speak of a “place” in its entirety.
To construct from memory is to include these phases whilst not being bound to them; it is to understand the former logbook, despite being on another journey. It’s to grasp that starting from scratch is not so hard if we remember where we have come from.
The “Dussart Pedrón Winery” is the new space to come out of the rehabilitation of a familiar, old structure with numerous former lives.
The current space, of 156m2, was originally a barn, an elongated volume on one floor with a large patio attached. Later, it was converted into a storehouse, using the barn as a warehouse and filling in the adjacent patio to create a space on a second level, from which wine was produced and pumped into the storehouse tanks. In the 60s, upon creation of the town cooperative, the winery stopped producing wine and converted itself into a warehouse. Today, its descendants have come from France, leaving their lives behind, in order to rescue the family winery which their great-grandfather began one day in the distant past. Simultaneously, they are also rescuing the production of wine which had been abandoned.
The intervention uses the passing of time like another construction material, without hiding the scars. In this ‘territory space’ the new installations have been placed, using easily identifiable materials of the times. The original structure has been revised, acting with each element in a personalised way. The roof has kept its original corrugated structure, upon which a water treatment system has been placed, tongue and groove wooden slats have replaced reeds and the tiles washed and put back in their original place. The north face, still showing the traces of its farmhouse past, has been kept this way, with its peeping gaps and cracks. On the lower level where the family began to produce wine over one hundred years ago, one finds the brick wall where the original stores were kept.
Upon this regenerative canvas the entirety of the new program is based, contained within three related spaces. At ground level, outlined by the entrance on the east side, one finds the original expansion dedicated to production, through which two other rooms can be accessed. These rooms are situated on two levels on the western nave: the basement, consisting of former concrete tanks has been converted into the wine cellar, taking advantage of its thermal inertia for the barrel ageing, whilst the first floor is used as the receiving area for the grapes; combining the restrooms and laboratory and a new opening which perforates the stone wall.
These levels have been redefined based on a reinforced concrete structure which consolidates and reinforces the construction, allowing for the new purpose. The stairs and lifts are situated in the middle, surrounding the principal pillar and creating a central area. The new walls are made of white plasterboard, which have been positioned like a perimeter wall surrounding the space, integrating the restrooms and making the surfaces washable for the appropriate functioning of the winery. In the space between these two elements one finds ‘mood lighting,’ which enhances the texture of the walls and the curves of the ceiling, but which simultaneously highlights the separation and distance.
This intervention represents a layer upon construction, just skimming the surface, like a reversible installation which at the same time provides a blank page from which to begin again.
Text: Ana Asensio
In the timeline of a building are many different lives, and each one paves the way for the next. The same constructions, the same landscapes are interpreted in different ways at different times; experienced, at the end of the day, under other circumstances. Within these lives, as well as going through different functions, transformations, abandonment and rebirth, different psychological associations are experienced: nostalgia, disregard, inferiority complexes or great hopes. What’s important to know is that this line, with all its material and emotional baggage, leads up to today and if broken, makes it impossible to speak of a “place” in its entirety.
To construct from memory is to include these phases whilst not being bound to them; it is to understand the former logbook, despite being on another journey. It’s to grasp that starting from scratch is not so hard if we remember where we have come from.
The “Dussart Pedrón Winery” is the new space to come out of the rehabilitation of a familiar, old structure with numerous former lives.
The current space, of 156m2, was originally a barn, an elongated volume on one floor with a large patio attached. Later, it was converted into a storehouse, using the barn as a warehouse and filling in the adjacent patio to create a space on a second level, from which wine was produced and pumped into the storehouse tanks. In the 60s, upon creation of the town cooperative, the winery stopped producing wine and converted itself into a warehouse. Today, its descendants have come from France, leaving their lives behind, in order to rescue the family winery which their great-grandfather began one day in the distant past. Simultaneously, they are also rescuing the production of wine which had been abandoned.
The intervention uses the passing of time like another construction material, without hiding the scars. In this ‘territory space’ the new installations have been placed, using easily identifiable materials of the times. The original structure has been revised, acting with each element in a personalised way. The roof has kept its original corrugated structure, upon which a water treatment system has been placed, tongue and groove wooden slats have replaced reeds and the tiles washed and put back in their original place. The north face, still showing the traces of its farmhouse past, has been kept this way, with its peeping gaps and cracks. On the lower level where the family began to produce wine over one hundred years ago, one finds the brick wall where the original stores were kept.
Upon this regenerative canvas the entirety of the new program is based, contained within three related spaces. At ground level, outlined by the entrance on the east side, one finds the original expansion dedicated to production, through which two other rooms can be accessed. These rooms are situated on two levels on the western nave: the basement, consisting of former concrete tanks has been converted into the wine cellar, taking advantage of its thermal inertia for the barrel ageing, whilst the first floor is used as the receiving area for the grapes; combining the restrooms and laboratory and a new opening which perforates the stone wall.
These levels have been redefined based on a reinforced concrete structure which consolidates and reinforces the construction, allowing for the new purpose. The stairs and lifts are situated in the middle, surrounding the principal pillar and creating a central area. The new walls are made of white plasterboard, which have been positioned like a perimeter wall surrounding the space, integrating the restrooms and making the surfaces washable for the appropriate functioning of the winery. In the space between these two elements one finds ‘mood lighting,’ which enhances the texture of the walls and the curves of the ceiling, but which simultaneously highlights the separation and distance.
This intervention represents a layer upon construction, just skimming the surface, like a reversible installation which at the same time provides a blank page from which to begin again.
Text: Ana Asensio
Planimetría | Drawings
Planimetría | Drawings
Fotografías de Milena Villalba | Pictures by Milena Villalba
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