莱加斯皮的屠宰场电影院中心
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设计师声明
记忆、回忆，甚至是糟糕的记忆，在我们处理建筑的过去时，总是扭曲并飞翔，是的，编织一个故事，选择语调、节奏、韵律、重音，一个与马德里旧屠宰场的集体记忆自然共存的故事，以及一个早期关于新用途的报告，致力于电影，同时与自身反复出现的执念交织在一起。
电影的神奇逆光和对比，以及对编织和人类技术无限几何的童年迷恋，构成了感官的三角形，其余的则是在螺旋中环绕这种氛围，这种感觉，并在构造上加以定义。
砖土地的构造历史，旧屠宰场的强大修辞是背景，同时也是故事场景中的一部分，这个故事中，连续的低背景，一个涂成深灰色的单一材料木质结构，定义了新程序在墙壁、地板和天花板上的展开，清晰地分隔了故事与历史。在这个深色地毯背景下，我自己的记忆浮现出一些巨大的生动的篮子，定义了主要空间。
电影档案区被一个可渗透的篮子覆盖，巨大且可步行，过滤光线并作为灯具，形成一个无尽编织的谦逊橙色软管的巨大形象。定义电影放映室的篮子是黑色的阴影。在主放映室中，橙色的背景被照亮，使篮子在电影开始前漂浮，背景消失，只有生动的黑色表面留存。在小型放映室中，一个非常黑的篮子形状的槽在几乎全黑的空间中漂浮，只有当你打开窗户时，眼睛才会被耀眼的光芒刺痛。
因为眼睛和感知的界限最终是这部电影历史的真正主角。
静默结构：
这里有一场建设性和结构性的斗争，一场捍卫静默和隐藏历史的斗争。捍卫它就是不服从那些对工厂建筑历史不信任的病理报告，不理解砖石工厂喜欢被赋予生命……它们更快乐、更有凝聚力……而它们的逻辑始终是稳定性和强度的问题。
依靠这些不可重复的坚固砖墙和石灰砂浆，干预解决了程序所需的大量空间。水平结构采用钢筋混凝土板解决，其与现有砖墙的双向作用形成了一整套垂直承重墙，通过宽大的墙体分配力量。这些墙的基础通过轻微倾斜的微型桩加固，穿透在阶梯状砖基础的垂直投影下。
背景与篮子：
在结构解决后，一层连续的灰色涂漆松木地板覆盖墙壁、地板和天花板，定义了空间的新建筑。在这个深色木质背景下，单一材料编织的篮子、由弯曲钢管制成的框架作为几何的保证，并用常规工业灌溉软管编织而成。
设施：
由预先存在的构造、深色木质背景和篮子形象的主角所定义的空间，要求在设施的引入上保持一种刻意的静默。对新鲜空气的巨大需求使得放映厅和电影院需要巨大的通风管道，这些管道大部分埋在地下。对于那些没有如此大通风需求的区域，如大堂、办公室和流通区域，则采用地板供暖/制冷系统解决。
照明故意呈现无序，避免了我们法规所推动的扭曲和悲伤的同质化。灯泡的簇群在墙面上舞动……编织的LED灯带照亮了篮子和下面的空间。
Designer's statement
Memory, memories, even bad memory always twist and fly when we work on architectural past, yes, make a story, choose the tone, cadence, rhythm, accents, a story that naturally coexist with collective memory of the old slaughterhouse of Madrid, with another early report of new application dedicated to the movies while curled up with the forgetfulness of their own recurrent obsessions.
The magical backlight and contrast of the films, and the childhood fascination of basketry and technical human infinite geometries are the sensory triangle the rest is to surround in spiral this atmosphere, this feeling, and define it constructively.
The tectonic history of brickland, the powerful rhetoric of the old slaughterhouse is the background, and also figure at the scenes of the story, a story in which a continuous low background, a wooden monomaterial painted in dark gray defines the new program deployed on walls, floors and ceilings, allowing a clear separation between story and History. Against this dark carpet background, my own memory outputs a floating figures, some huge vibrant baskets that define the main spaces.
The Film Archive Area is covered by a permeable basket, huge, walkable, that filters light and works as a lamp, a huge figure of a modest orange hose knitted infinitely. The Baskets that define Film rooms are shades of black. In the main room the orange background illuminated make the basket float until the movie begins, the background disappears and only a vibrant black surface stays. In the small projection room, a basket-banked trough very black on black space fleet almost black wood, only when you open a window dazzles the eye.
Because the eye and limits of perception are ultimately the real protagonists of this history of cinema.
Silent Structure:
There is a constructive and structural battle, a battle to defend silent and hidden history. And to defend it is to disobey the pathology reports that distrust of the History of the factory building, do not understand that the factories of brick and masonry love to be charged… are happier and more cohesive… and that its logic is always a problem of stability and strength.
Relying on these unrepeatable walls of solid brick and lime mortar, the intervention has solved the great spam required by the program. The horizontal structure has been solved with reinforced concrete slabs, whose two-way working with the existing brick walls make a complete set of vertical load-bearing walls, distributing efforts through the generous cloth walls. The foundations of these walls was reinforced overloading batteries slightly inclined of micropiles penetrating under the vertical projection of stepped masonry foundations.
Background and Baskets:
Upon resolution of the structure, a continuous carpet of grey painted pine flooring covers walls, floors and ceilings defining the new architecture of space. Against this dark wood background, the monomaterial woven baskets, frames made of bent steel tubing as the guarantors of geometry, and woven with conventional industrial irrigation hoses.
Facilities:
The spaces defined by the tectonics of the preexisting, the dark background of wood and the protagonists of the baskets figures required a deliberate silence on the introduction of the facilities. The enormous demand of fresh air that require the Plato and the Cinemas need a huge conducts that gets buried under ground most of these easements. The areas without such large ventilation requirements, such as lobbies, offices and circulation areas are solved with underfloor heating / cooling systems.
The lighting is deliberately disordered avoiding the perverse and sad homogeneity to which we are pushed by our regulations. Clusters of bulbs view dances in the walls… stripes of woven LEDs lighten the baskets and the space underneath.