杜萨特·佩德龙酒庄
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在一座建筑的时间线上，存在着许多不同的生命，每一个生命都为下一个铺平了道路。同样的建筑、同样的景观在不同的时期以不同的方式被诠释；最终，在不同的情况下被体验。这些生命中，除了经历不同的功能、转变、废弃和重生外，还经历了不同的心理联想：怀旧、漠视、自卑情结或巨大的希望。重要的是要知道，这条线，带着所有的物质和情感包袱，延续到今天，如果被打破，就无法完整地谈论一个“地方”。
从记忆中构建就是在不受其束缚的情况下包含这些阶段；它是理解过去的航海日志，尽管正在进行另一段旅程。它是明白，如果我们记得来时的路，从零开始并不那么困难。
CRUX建筑工作室在这个位于雷奎纳 “瓦伦西亚” 洛斯佩德龙斯镇的项目中，进行了一项干预，深切尊重该空间先前的情感意涵，意识到一个新的阶段正在开始，这不可避免地与当代性相连。“杜萨特·佩德龙酒庄”是从一个拥有多重前世的熟悉旧结构的修复中诞生的新空间。
目前的空间面积为156平方米，最初是一个谷仓，一个单层的长形建筑，附有一个大型庭院。后来，它被改建为仓库，将谷仓用作仓库，并填补相邻的庭院以创造二楼的空间，从中生产葡萄酒并将其抽送到仓库的储罐中。在60年代，随着镇合作社的成立，酒庄停止了葡萄酒的生产，转变为仓库。如今，他们的后代从法国回来，放下了自己的生活，为了拯救他们曾曾祖父在遥远的过去开始的家族酒庄。同时，他们也在拯救曾经被遗弃的葡萄酒生产。
在小镇和村庄以及农村环境中，对自我身份的看法往往是贬义的：生存方式、无形遗产，穿过建构的环境。正如建筑师所说，“一般来说，当地独特文化并不被赋予价值。尽管如此，杜萨特·佩德龙家族放弃了在法国的‘稳定’，回到镇上承担这个项目，重新学习对本土产品的‘羞耻’并重视这一遗产。”
这一前提在承担项目时至关重要：一方面，建筑师意识到该地点的物质和情感遗产的价值，这对抗了对民间建筑的通常低估；另一方面，意识到记忆是一个活的实体，不能被解剖和展示，而是应该被使用、转化和改善。
“这样，我们理解到我们的提案必须是该地点历史中的另一条线。我们的任务是双重的：使这个新空间具有生产性，同时考虑到当前葡萄酒生产过程和健康安全要求的显著变化。与此同时，我们感受到保留建筑痕迹的必要性，并通过使用我们时代的建设技术来最大化其潜力。”
这次干预利用时间的流逝作为另一种建材，并不隐藏伤痕。在这个“领土空间”中，新的设施被安置，使用了易于识别的当代材料。原有结构经过修订，对每个元素进行个性化处理。屋顶保留了其原始的波纹结构，并在其上安装了水处理系统，舌槽木条取代了芦苇，瓦片经过清洗后放回原位。北立面仍然显示出其农舍过去的痕迹，保持着原有的窥视缝隙和裂缝。在一百多年前，家族开始生产葡萄酒的下层，仍然可以找到原始储藏室的砖墙。
在这个再生的画布上，整个新程序的基础建立在三个相关的空间内。在地面层，东侧入口的轮廓勾勒出原始扩展的生产区域，通过这里可以进入另外两个房间。这些房间位于西侧的两个楼层：地下室由以前的混凝土储罐改建而成，成为葡萄酒窖，利用其热惯性进行桶陈酿，而一楼则用作葡萄的接收区，结合了卫生间和实验室，并在石墙上开了一个新的开口。
这些楼层是基于一个加固混凝土结构重新定义的，该结构巩固并加强了建筑，使其能够适应新的用途。楼梯和电梯位于中央，围绕着主要支柱，形成一个中央区域。新的墙壁由白色石膏板制成，像围墙一样围绕着空间，整合了卫生间并使表面可清洗，以便于酒庄的正常运作。在这两个元素之间，设置了“情绪照明”，增强了墙壁的质感和天花板的曲线，同时突显了分隔和距离。
这次干预代表了一层建设，轻轻掠过表面，像是一个可逆的安装，同时提供了一个可以重新开始的空白页面。CRUX建筑师的这个项目是延续与共存的体现，以微妙而亲近的方式理解时间的磨损作为当今道路的一部分的附加价值。该项目同样尊重和关心过去的事物以及未来的可能性。
在一座建築的時間線上，存在著許多不同的生命，每一個生命都為下一個鋪平了道路。同樣的建築、同樣的景觀在不同的時期以不同的方式被詮釋；最終，在不同的情況下被體驗。這些生命中，除了經歷不同的功能、轉變、廢棄和重生外，還經歷了不同的心理聯想：懷舊、漠視、自卑情結或巨大的希望。重要的是要知道，這條線，帶著所有的物質和情感包袱，延續到今天，如果被打破，就無法完整地談論一個“地方”。
從記憶中建構就是在不受其束縛的情況下包含這些階段；它是理解過去的航海日誌，儘管正在進行另一段旅程。它是明白，如果我們記得來時的路，從零開始並不那麼困難。
CRUX建築工作室在這個位於雷奎納 “瓦倫西亞” 洛斯佩德龍斯鎮的項目中，進行了一項干預，深切尊重該空間先前的情感意涵，意識到一個新的階段正在開始，這不可避免地與當代性相連。“杜薩特·佩德龍酒莊”是從一個擁有多重前世的熟悉舊結構的修復中誕生的新空間。
目前的空間面積為156平方米，最初是一個穀倉，一個單層的長形建築，附有一個大型庭院。後來，它被改建為倉庫，將穀倉用作倉庫，並填補相鄰的庭院以創造二樓的空間，從中生產葡萄酒並將其抽送到倉庫的儲罐中。在60年代，隨著鎮合作社的成立，酒莊停止了葡萄酒的生產，轉變為倉庫。如今，他們的後代從法國回來，放下了自己的生活，為了拯救他們曾曾祖父在遙遠的過去開始的家族酒莊。同時，他們也在拯救曾經被遺棄的葡萄酒生產。
在小鎮和村莊以及農村環境中，對自我身份的看法往往是貶義的：生存方式、無形遺產，穿過建構的環境。正如建築師所說，“一般來說，當地獨特文化並不被賦予價值。儘管如此，杜薩特·佩德龍家族放棄了在法國的‘穩定’，回到鎮上承擔這個項目，重新學習對本土產品的‘羞恥’並重視這一遺產。”
這一前提在承擔項目時至關重要：一方面，建築師意識到該地點的物質和情感遺產的價值，這對抗了對民間建築的通常低估；另一方面，意識到記憶是一個活的實體，不能被解剖和展示，而是應該被使用、轉化和改善。
“這樣，我們理解到我們的提案必須是該地點歷史中的另一條線。我們的任務是雙重的：使這個新空間具有生產性，同時考慮到當前葡萄酒生產過程和健康安全要求的顯著變化。與此同時，我們感受到保留建築痕跡的必要性，並通過使用我們時代的建設技術來最大化其潛力。”
這次干預利用時間的流逝作為另一種建材，並不隱藏傷痕。在這個“領土空間”中，新的設施被安置，使用了易於識別的當代材料。原有結構經過修訂，對每個元素進行個性化處理。屋頂保留了其原始的波紋結構，並在其上安裝了水處理系統，舌槽木條取代了芦苇，瓦片經過清洗後放回原位。北立面仍然顯示出其農舍過去的痕跡，保持著原有的窺視縫隙和裂縫。在一百多年前，家族開始生產葡萄酒的下層，仍然可以找到原始儲藏室的磚牆。
在這個再生的畫布上，整個新程序的基礎建立在三個相關的空間內。在地面層，東側入口的輪廓勾勒出原始擴展的生產區域，通過這裡可以進入另外兩個房間。這些房間位於西側的兩個樓層：地下室由以前的混凝土儲罐改建而成，成為葡萄酒窖，利用其熱慣性進行桶陳釀，而一樓則用作葡萄的接收區，結合了衛生間和實驗室，並在石牆上開了一個新的開口。
這些樓層是基於一個加強混凝土結構重新定義的，該結構鞏固並加強了建築，使其能夠適應新的用途。樓梯和電梯位於中央，圍繞著主要支柱，形成一個中央區域。新的牆壁由白色石膏板製成，像圍牆一樣圍繞著空間，整合了衛生間並使表面可清洗，以便於酒莊的正常運作。在這兩個元素之間，設置了“情緒照明”，增強了牆壁的質感和天花板的曲線，同時突顯了分隔和距離。
這次干預代表了一層建設，僅僅是輕輕掠過表面，像是一個可逆的安裝，同時提供了一個可以重新開始的空白頁面。CRUX建築師的這個項目是延續與共存的體現，以微妙而親近的方式理解時間的磨損作為當今道路的一部分的附加價值。該項目同樣尊重和關心過去的事物以及未來的可能性。
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 CRUX architecture studio, in this project situated in the town of Los Pedrones, in Requena (Valencia), has worked on an intervention which shows deep respect for the preceding emotional implications of the space, aware that a new phase is beginning, which is inevitably linked to contemporaneity. 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.
As is commonplace in small towns and villages and rural settings, there is a pejorative view of self-identity: forms of subsistence, the intangible heritage, passing through the constructed surroundings. As the architects say, “generally, value isn’t attributed to the local, unique culture. In spite of this, the Dussart Pedrón family have renounced their “stability” in France to return to the town and take on this project, unlearning this “shame” in regard to what is native produce and place value on this heritage.”
This premise was key when taking on the project: on the one hand, the architects were aware of the value of both the material and sentimental heritage of the place, which counteracts the usual, undervalued view of popular architecture; and on the other hand, aware that memory is a living entity which cannot be dissected and exhibited, but rather used, transformed and improved.
“In this way, we understood that our proposal had to be another line in the history of the place. Our task was two-fold: to make this new space productive, keeping in mind the current wine production processes and health and safety requirements which have changed considerably. At the same time, we felt the need to preserve the footprints of the building and maximise its potential by using the constructive technology of our time.”
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. This project of CRUX architects is one of continuations and coexistences which understands, in a subtle and close way, the added value of the wear and tear of time as a part of the path of today. The project looks with equal respect and care upon what came before and what is yet to come.