The project arises from the need to reconnect Valencia’s agricultural memory with the existing network of water channels that link the territory to the sea, as well as with the industrial and winemaking heritage of the former Vinival warehouses. Within this proposal, the project acts as a mediator between the agricultural fields and the sea through water as a connective element, floodingthe site to create a sequence of urban landscapes defined by fountains thatevoke the Islamic-influenced gardens of Spain. Additionally, new embankmentsare introduced to shape boundaries and circulation routes around the intervention, accompanying the exterior landscaping. The reused silos from the original complex are transformed into structural and symbolic pieces that accommodate new uses and serve as reference points within the urban proposal, offering diverse spatial experiences while preserving the memory of the place.

I. Water Systems and Agricultural Memory

Within the project, the silos are associated with the preservation of the productive identity of the former wineries, while water is conceived as a formative resource that molds topography and regulates the building’s environmental conditions. It generates courtyards, channels, and edges that guide visitors along their paths, shaping aquatic landscapes interwoven with native vegetation that recall the memory of regional architecture. These elements accompany the pedestrian experience both inside and outside the building, establishing a continuous dialogue between structure, landscape, and climate.

II. Industrial Reuse and Porous Architecture

The former winery complex is transformed through adaptive reuse, where the metallic silos become inhabitable structures capable of assuming multiple functions—viewpoints, water fountains, reading spaces, or vertical circulations. The building takes shape as an inhabited garden where the industrial fabricengages with the surrounding landscape. The central void becomes the main public space, conceived for collective activities, diverse exhibitions, and displays of Las Fallas floats—the emblematic event that gives meaning to the new architectural intervention. Fragments of demolished walls are integrated into the proposal to allow a ceaseless exchange between interior and exterior, allowing vegetation to inhabit the interior spaces and the mirror of the water to traverse them, generating a tempered and inhabitable microclimate.

III. Public Topography and Urban Ecology

The intervention in the public space enhances the main access plaza, framedby a large park where the embankments reshape the topography to emphasizeobservation areas for cultural events and the burning of Las Fallas sculptures. These variations of the terrain create spaces for permanence and movement, relating to the human scale and enhancing the enjoyment of the urban fabricsurrounding the project. The proposal recalls adjacent buildings through their traces and reinterprets the urban plane with landscape interventions composed of orange trees, grasses, and Mediterranean species. The project thus unfoldsas an open structure in which the materials of the past and natural processesdefine a renewed equilibrium between architecture, landscape, and climate.

“This proposal stands out for its beautiful integration of landscape and architecture, transforming the silos and water systems into a living ecological framework. It creates a sustainable, climate-responsive environment while preserving the agricultural and industrial memory of the site.”

Artur Mc Clean – SGA

“The project demonstrates a refined understanding of adaptive reuse by preserving Bodegas Vinival’s industrial character while transforming the silos into multifunctional elements. Vegetation, water, and memory coexist in harmony with the lively spirit of Las Fallas.”

Jose Luis Perez Hermo- Coop-Himmelb(l)au

The proposal begins by acknowledging the unique condition of the site: a strategically located yet isolated area positioned for significant urban development growth, supported by strong rail and road connections. At the same time, the city suffers from a lack of accessible public and green spaces, despite the major assets like Central Park and Turia Garden. The project responds to this context by creating a new cultural and community facility embedded within a large park – an intervention that complements rather than competes with the existing green infrastructures while extending the ecological and social continuity across the territory.

To reinforce this approach, the design introduces minimal new construction. Instead, it highlights the existing emblematic building by surrounding it with vegetation and transforming the ground level into a permeable public plinth. This open, accessible base acts as an extension of the park, softening boundaries between interior and exterior, incorporating greenery booth visually and physically. The building becomes not an isolated object but an active component of a broader landscape.

The architectural intervention removes ceramic pieces from three facades, opening the building to the park. Retained corners and rear modules house services, vertical circulation and larger exhibition spaces, preserving fragments of the building’s original character. Part of the roof is also removed, following the interior program’s modular layout. Open strips are created in the areas where the program is more open, allowing greater natural light to enter the space.

The circulation is divided into two main routes, each encompassing two programmatic modules, as these share a stronger relationship with one another. In this way, the design further emphasizes the character of each program and the user group it serves.

Programmatically, the project consolidates several community-oriented functions currently dispersed throughout the city. Four interconnected modules, each associated with a particular age group and mode of engagement – thinking, creating, sharing and exhibiting – come together under one roof. Each part of the program fulfills its role within this cycle, acting as a point of connection among different groups of people and ages: The Voice represents the initial flame, The Future symbolizes the seed, The Hands embody creation, The Vision corresponds to exhibition, and Celebration concludes with the final act: la Cremà.

The first module is composed of spaces that allow the community to share and discuss topics that affect their daily lives, such as political, social and community issues. The area dedicated to young people focuses on providing a safe environment for teaching, working, studying, sharing, and learning. The workshops are designed as multifunctional spaces that transform throughout the year, adapting to various themes. Finally, the exhibition space brings together the results of all these activities, allowing the community to display the processes and knowledge developed within each module.

“A project that, while being proactive and sensitive to the site and the architectural piece it encounters, is able to transform them by adopting pragmatic, constructive, and realistic solutions that make sense in relation to the collective memory, geometry and spatial character of the existing structure. Through minimal and economically viable interventions, is capable of transforming both the interior landscape and the surrounding public environment. The proposal of generating a new simple big “park” within a territorial context —a vast natural open area that users can appropriate for different uses— seems like a very direct yet very realistic and necessary approach, in contrast to the overdesigned landscapes and parks. At the same time, the strategy to open up the ground floor extensively to the exterior—even introducing elements for circulation and for the separation of interior spaces using different materialities, while responding to what already exists, with a construction that appears easy to reuse and insert—makes this proposal one of the most comprehensive, pragmatic, and realistic in relation to the social and spatial context of its surroundings.”

Luis Gallego Pachón – Pachón-Paredes

The proposal is based on the process of transformation that defines Las Fallas: history, burning, and rebirth. This concept is articulated around the Antigua Bodega Vinival in
Alboraya, a witness to Valencian memory where tradition and transformation intertwine. Located between the seaa n d the orchards, and  urroundedb y urban growth, the winery is conceived as a bridge connecting three fundamental landscapes: sea, city, and orchard. Its revitalization reinterprets Las Fallas as an act of renewal, in which fire transforms a space that preserves the memory of the territory. In this way, the winery becomes a place of symbolic transition, where fire, sea, orchards, and city engage in dialogue, creatinga duality that integrates collective memory and landscape within a single narrative.

Strategies

The north-south axis organizes the proposal, generating a continuous reading between sea, city, and orchards. The demolition of adjacent buildings is proposed to create a new public space that functions as a forecourt and as a unifying element of the complex, arranged according to the winery’s original modular grid. This operation also reinforces the connection with the Falla Patacona, a key element in the project’s narrative.
The public space is structured into three sectors aligned along thenorth-south axis, unified by a perimeter circuit that gives rise to different shaded and resting areas. On the western elevation, facing the orchards, vegetation dominates, recognizing existing species while incorporating native plants. Towards the east, facing the see and the city, the space takes on a recreational character and incorporates reflective water features that evoke dialogue with the sea. At the northern end, the bonfire is located, serving as the stage for the ritual act of burning, conceived as a contemplative plaza. Acontinuous platform connects the winery with this space, beneath which a lower level is developed for gatherings andfire ceremonies. Surrounding this core are workshops, a cafe, and exhibition niches that reinterpret the formal language of the old wineries, housing fallas or their remnants.
The building of the old winery is conceived as a large hall ni constant dialogue with the exterior–a versatile space intended for meeting, creation, and exhibition. Its open interior is organized over two levels, taking advantage of the existing gridstructure. The groundfloor prioritizes spatial flexibility through retractable partitions, allowing the configuration of auditoriums, workshops, classrooms, or festive spaces. The upper floor houses a library and meeting rooms in the northern wing, while the western and eastern fronts contain study areas and collaborative workspaces. A bridge with flexible resting and coworking areas offers a dual panorama: one facing the workshops and classrooms, and the other overlooking the exhibition and community spaces. 

“This project identifies key urban needs of Alboraya while proposing a landscape that reinforces the adaptive reuse strategy.”

Jose Luis Perez Hermo- Coop-Himmelb(l)au

The Bodegas Vinival project is a comprehensive architectural transformation that blendsValencia’s industrial past with its most significant cultural heritage, the Las Fallas festival, converting an abandoned industrial site into a vibrant, multi-purpose urban island that honors its urban memory.

At the core of the project is the fusion of the passionate and vibrant spirit that forms the basis of the Las Fallas tradition—starting with the burning of old wood by carpenters and evolving into a grand festival intertwined with sculptural art—and the powerful industrial architecture of Bodegas Vinival, which symbolizes Valencia’s rich winemaking heritage.

The design adopts the continuous cycle of renewal inherent in Las Fallas, the process of creation, destruction, and recreation, as a fundamental concept. This cycle is then experienced by users as an architectural “LOOP” motif. Through this approach, the dormant Bodegas Vinival has been transformed into a dynamic and lively urban island returned to the city.

In this context, the red color, used as the main tone in the design, makes a strong reference to both the old wine factory and the literally fiery spirit of Las Fallas. The industrial identity of the structure is reinforced by utilizing the existing wine silos, bridges, and the building’semphasized structural frame as distinctive and defining architectural elements throughout the project. Elements like the existing wine silos and bridges served as design inputs and sources of inspiration for the project. Thus, the design, inspired by Vinival’s roots, is also seen to be shaped by a principle that celebrates craftsmanship.

In terms of spatial organization, in addition to the winery building, which was once a closed production area, the entire project site has been converted into a public cultural platform where the resulting ‘products‘ can be exhibited, shared, and ultimately ‘burned‘. The open-airplan is designed as a concept of a plaza and cultural habitat, creating spaces that serve various purposes. These areas include numerous workshop spaces, co-working areas, tasting zones, a botanical garden, and entertainment and event venues, making them multi-purpose spaces that serve a wide range of users and functions.

The design, heavily inspired by the internal layout of Bodegas Vinival, creates surprising spaces by offering diverse spatial experiences at different elevations and reflecting a dynamic, playful social loop. Considering Vinival’s climate, the design incorporates extensive shaded areas, green spaces, and semi-open and closed structures, ensuring a lively, colorful, and unique environment that integrates with the urban fabric and appeals to all ages.

“The proposal succeeds in integrating the preexisting elements into a broader and more complex urban system, within which they gain renewed meaning and value. Through a limited number of precise operations, the project articulates the site effectively, strengthening its presence within the urban structure.”

Virginia Theilig – FAPyD

FALLAS ARTS & CULTURE INTERPRETATION CENTER
OLD VINIVAL WINERIES, ALBORAYA, VALÊNCIA

La Plantà is conceived as a living laboratory of Fallas culture-an open center for research and creation located in the former Vinival Wineries in Alboraya. It is a place of shared creativity, capable of transmitting the awareness and experience of Valencia’s most emblematic tradition. Its name evokes the ritual of la planta, the moment when Fallas artists assemble their monuments on the Valencian streets where, days later, they will be burned. The project extends that moment of contemplation, allowing visitors to appreciate the work in progress as the collective outcome of a year’s effort.

The complex is organized into two main areas: one half functions as a covered public square, adaptable for multiple events, while the other houses active spaces that bring together a wide variety of users. The program includes a public library and co-working area, with soft, inviting textures that encourage reading and individual work beneath the preserved winery structure; an interactive Fallas Arts Museum, offering multiple viewpoints and spaces dedicated to memory, history, and the creation of the Fallas inventory; and a creation and innovation research center, where local and international artists experiment with new materials and techniques aimed at reducing the festival’s environmental impact. Researchers can reside within the complex to enhance creativity and draw inspiration from the site’s unique energy. A central café encourages exchange and interaction between users, reinforcing the project’s social and inclusive dimension.

La Plantà also operates as a center for architectural sustainability: the controlled combustion of the Fallas serves as a source of thermal energy, while the roof aperture can be closed to generate a greenhouse effect and retain heat in winter.

The surroundings of the former wineries are being redeveloped with a focus on sustainable mobility, incorporating a new train station and a promenade, the Fallas Boulevard, that connects /Horta de Valência (Valência’s countryside) with t h e beach through an urban park. Along this route, traditional Mediterranean rainwater cisterns help create a refreshing microclimate, offering relief from Valência’s hot summer days. The landscape, designed as a cool and airy refuge, extends the street into the interior of the building, creating visual and spatial continuity.

The user experience is shaped by the decision to preserve the original structure and wine tanks, whose distinctive red tones are reinterpreted as a symbol of respect for tradition. Open 364 days a year-closing only on March 15th to prepare for the plant, which culminates in the crema on March 19th-La Plantä stands as a lasting gesture, a flame that never fades. More than a building, it is a living cultural organism where the ephemeral art of the Fallas finds a permanent home for experimentation, sustainability, and the continuous renewal of Valencian identity through community, memory, and shared creation.

“A conceptually strong and engaging proposal that successfully incorporates the Fallas theme while respecting the formal constraints and character of the existing building. It demonstrates a thoughtful balance between cultural expression and architectural responsibility.”

Diego Serrano Rosado – Archif

Las Fallas—an annual festival of destruction and creation. We have discovered this spirit within the daily rhythms of this site and reinterpreted it through architecture. As a metaphor for perpetual cycle of destruction and creation, the solar orbit which marks the beginning and end of each day is positioned at the core of spatial experience.
At the end of the road extending from the coast, a slope symbolically captures the setting sun piercing through the winery. This slope is not just a passage but an architectural expression of time and light. As visitors ascend the slope, they are guided from the lively bustle of the marketplace to the tranquil observation deck enveloped in silence. From there, Valencia’s cityscape could be seen beyond the fields, where the land’s memory and future converge. Through the destruction of a single span and the creation of the ramp, new winds literally flow through this building.
Along both sides of the ramp, local people’s activities unfold behind transparent glass. The fermentation process of culture breathes within the architecture. Visitors naturally transition from observers to participants, and the entire ramp becomes a living cultural museum.
On the north side facing the vast landscape, the existing winery undergoes dramatic transformation. Opening cut along the sun path at summer solstice forms a massive arch, converting the closed production space into a stage of expression. Just as Falla figures are sublimated in flames, here daily labor is elevated to artistic act. The hillside becomes a natural amphitheater where people sit on the ground to witness cultural festivities.
For more flexible event hosting, a movable circular stage is positioned around the hill. Moving along the solar orbit, this stage accommodates diverse regional cultural activities and generates vibrancy.
From the west, roads from the highway are drawn into the site, making it easier for people from the outer city to access. Simultaneously, pathways are secured for harvests from surrounding farmlands to flow naturally into the marketplace. Leveraging this land’s character as a junction point, fields, coastline, residential areas, and schools will be organically connected by the landscape.
Inside, light deck slabs and polished concrete are adopted to dialogue with the existing brick masonry’s heaviness. The contrast woven by old and new materials weaves the story of tradition and innovation’s coexistence. The Mediterranean’s intense sunlight carves temporal shadows on these surfaces, giving the space rhythms of the past and present.
This is not merely a tourist destination but a place where local people gather daily to create and interact. Spaces that show different faces throughout the day—from morning markets to evening concerts—become a cultural fermentation ground that contemporarily interprets the spirit of Las Fallas: destruction and creation, daily life and festival, individual and community. Just as the sun rises and sets, this place continues to nurture the region’s unique cultural identity within perpetual change.

“This proposal stands out for its poetic interpretation of Las Fallas, using the solar-aligned ramp and open-air amphitheatre to create a powerful cultural sequence. It preserves the essence of the Bodegas while opening it to light, landscape and community life.”

Artur Mc Clean – SGA

​The Fabric de Falles project proposes the recovery of the former Vinival industrial complex in Valencia, transforming it into a cultural and productive center dedicated to the creation, preservation, and dissemination of the Fallas tradition. The intervention seeks to reactivate this site of great symbolic value, integrating tradition and contemporaneity through an architecture that connects industrial memory with the public life of the city.

​The proposal is based on the dual nature that defines Valencian culture: interior and exterior, creation and celebration. The Fallas embody this duality between the ephemeral and the permanent; between the workshop where the idea is built and the street where the collective experience unfolds. This concept is translated architecturally into a project that organizes productive and public spaces in a continuous sequence, capable of adapting to and coexisting with the pre-existing structure.

​The original Vinival building is defined by its reinforced concrete, brick, and steel structure, the latter giving the complex its distinct industrial character. The intervention respects these materials, enhancing their expressiveness through a contemporary reinterpretation. A peripheral ring is introduced, surrounding the existing building, conceived in reinforced concrete but reinterpreted with the lightness and slenderness inspired by the logic of the original steel framework. This ring functions as both a functional and symbolic element, linking interior areas with the new exterior spaces and creating a dynamic sequence of light, shadow, and transparency.

​The architectural program is organized along a central axis that preserves the industrial rhythm and spatial quality of the complex. Inside, the main spaces are distributed as follows: an urban market, an information area, workshops for the construction of ninots and other Fallas elements, auditoriums, collaborative and research areas, and a permanent Fallas Museum exhibition. Each of these spaces promotes the continuity between cultural production, learning, and civic participation.

​Externally, the intervention expands the public character of the complex. An open-air amphitheater and the Fallas Park are proposed, an open green area that includes exhibition esplanades and flexible spaces for outdoor events. These exterior zones allow the interior activity to extend into the city, transforming the site into a new urban hub for coexistence and creation.

​At the urban scale, the project takes advantage of the site’s natural topography to partially embed part of the new program, reducing its volumetric impact while emphasizing the monumental presence of the original building as a permanent visual landmark. The use of glass enclosures complements the intervention, providing transparency, permeability, and a constant visual dialogue between interior and exterior spaces.

​Fabric de Falles is an architecture that preserves the material memory of its place while projecting it toward the future. It is a living space where Valencian culture is built, shared, and celebrated, an encounter between history and contemporary urban life that reaffirms the city’s collective identity.

“A well-resolved and elegantly integrated proposal with a strong and coherent application of the program. It stands out for placing the Fallas tradition at the core of the project, fully aligning with the aim of transforming the building into a true cultural center dedicated to it.”

Diego Serrano Rosado – Archif

Las Fallas is one of the few remaining festivals in modern society where people consciously engage with light and fire. More than a visual spectacle, it is a ritual through which a community expresses and renews its emotions in the darkness. Fire, though fleeting, becomes an intense symbol of liberation, burning away imposed order and leaving behind the possibility of a new beginning.

Thus, a monument dedicated to Las Fallas must embody these variations of light and fire. It should not be an architecture of fixed form, but an organic structure that captures the changing flow of light through time and emotion. The way light is born inside, spreads along walls and openings, and finally emerges outward becomes a performance in itself.

Where past architecture sought to control light, this building instead seeks to liberate it. Here, light is no longer a passive tool that merely illuminates space, but an active agent with its own motion and temperature that composes the architecture. Its traces reflect on the urban skin, generating different expressions through time, and ultimately reconnecting people and the city.

Located at the threshold between farmland and sea, our site captures the spirit of Las Fallas as it unfolds within the city. The transformation of a once-closed wine factory into a cultural complex is not just a shift of function, but a reinterpretation of memory itself. While preserving the industrial traces and symbolic forms of the past, the architecture opens toward the city and its people through gestures of exchange and transparency.

The wave that cuts through the building gives rhythm and dynamism to the static mass, channeling the flow of light and wind. Light entering the interior diffuses along walls and gaps, creating, like the flames of Las Fallas, a rhythm of creation and destruction that is momentary yet powerful.

The kinetic façade visualizes the spirit of the festival. Its fiery motion evokes the destructive energy of art, while its delicate reflection and modulation of light express the process of creation. Along the wave, segmented spaces host distinct activities: the upper open zones become stages of creativity where human movement projects outward like shadows, while the lower grounded zones serve as galleries of memory and art.

This spatial composition does not remain enclosed. The flows of movement, sight, and light that begin inside extend beyond the boundaries, naturally connecting with the programs scattered across the landscape. The continuity of the wave and the organization of space unfold into courtyards, plazas, and gardens, where architecture, landscape, people, and city merge into one living, organic field.

“A project with notable constructive and technical quality. Although it does not strongly address the Fallas theme or the surrounding context, it gives the building an interesting new life through its carefully designed interior and the creation of generous, tall spaces suitable for Fallas-related activities.”

Diego Serrano Rosado – Archif

πῦρ and πυρός (pyr, pyròs): the burning fire, the sacrificial pyre, or the grain. Rebirth, regeneration, unity and community, sacrifice and nourishment. The same signifier, from ancient Greek, carries within it different yet complementary meanings — meanings that have defined the Mediterranean world and its way of life for centuries, both for individuals bent over ploughed fields and for communities whose customs and traditions made πυρός their structuring value.

Thus, in a profound dialogue between agricultural land and urban regeneration, between social innovation and tradition, the restoration project for the Bodegas Vinival in Valencia takes its cue from that ancient term that embodies both lightness and stability.

The project begins with the separation between architecture and ground: the emptying and lifting of the masonry shell, encircled and held by a system of cables and tension rods, allows this “third landscape” to inhabit the Bodegas, establishing a direct relationship between inside and outside, between architecture and territory. Inside, the existing containers are reinterpreted as exhibition, workshop, meeting and service spaces. The system of lifting and lowering, together with the periodic alignment of the machines with the existing walkways, creates a fluid and dynamic use, allowing different functions depending on the time of day or season, and enabling, when all machines are lifted, the complete use of the base level for large collective events and festivities, such as Las Fallas.

Even the underground basins follow this logic of flexibility: at certain times they fill with vegetation, echoing the surrounding landscape; at others they become the scenic background for the construction of the ninots of Las Fallas, when the collective ritual of fire returns to the city its symbolic energy of rebirth.

Ultimately, the project is defined by a profound respect for the existing structure, which it constantly reinterprets and adapts to contemporary needs without altering its original architectural character.

The context of the Bodegas, marked by the succession of agricultural, industrial, residential and coastal areas, suggests a clear direction: an ideal axis that, from the hinterland toward the sea, allows the intervention to engage in dialogue with the various elements of its surroundings.

The design of the surrounding area arises precisely from this tension, embracing and reworking the patterns of the agricultural fields into a composition of alternations: paved and green surfaces, shaded areas and informal spaces, using the same containers as the internal ones, where collective activities intertwine with moments of rest.

Within this stratification of signs and meanings, the project for the Bodegas Vinival becomes a synthesis of memory and transformation. Like πυρός, which links fire and grain, destruction and fertility, the intervention draws its strength from duality — between matter and lightness.

An architecture that, like a ritual, renews itself and the landscape that hosts it, restoring to the community a place of gathering and regeneration.

RE:FILL BARREL transforms the former Bodegas Vinival into a vessel of regeneration, refilling the emptiness of industrial heritage with culture, light, and community. Rooted in Valencia’s spirit of craftsmanship and celebration, the project reinterprets the act of refilling as a metaphor for renewal — a continuous cycle where emptiness becomes potential and memory becomes energy.

Four interconnected layers define this new architecture: Culture Barrel, Urban Barrel, Time Barrel, and Elements Barrel. Each expresses a different way the site is refilled with life. The Culture Barrel houses workshops, exhibitions, and performances that transform the factory into a living studio of participation. The Urban Barrel draws Valencia’s streets and plazas inward; curved façades and shaded alleys recreate the rhythm of the city inside the building. The Time Barrel preserves brick tanks, steel trusses, and traces of graffiti, revealing how memory itself can refill structure with meaning. The Elements Barrel gathers the sensory forces of water, breeze, light, and fire — reflective pools, tensile shades, and seasonal illumination recall the Mediterranean climate and the ritual of La Crema.

Across these layers, spaces once silent begin to breathe again. Light drifts through curved shades and dances on water; the plaza becomes a stage for gatherings, and the café extends toward the reflecting pool to meet the sea breeze. Inside, music rises beneath high ceilings once used for storage, and time is refilled with laughter, sound, and warmth.

RE:FILL BARREL embodies the rhythm of Valencia — its cycles of creation and destruction, community and festivity. It is both vessel and celebration, an architecture continuously emptied and refilled by the life of the city. The visual tone draws from Joaquín Sorolla’s luminous palette — radiant whites, golden sunlight, and deep coastal blues — expressing the enduring warmth and optimism of a city forever filled with light.

The project takes its name from the idea of The Void, as a space of possibility. By carving openings through the existing mass, the voids become the generator of connection, light and movement. The Void embodies transformation, turning an industrial relic into a shared cultural landscape open to all.

The proposal begins with a simple yet transformative gesture: the existing vaulted volume of the Antiguas Bodegas Vinival is punctured with circular openings in both the roof and all four façades. These deliberate voids bring natural light deep into the structure, introduce new connections from every direction, and redefine the building as a porous and inviting cultural centre. The once enclosed industrial shell becomes an accessible, luminous space that speaks to the landscape around it. The interior and exterior now form a continuous dialogue of activity, creativity and public life.

The landscape surrounding the building is shaped as a living extension of the interior. The northern part of the site is left open to regenerate into a natural wetland that respects the existing water channel and recalls the rhythm of La Huerta’s agricultural fields. Meandering paths weave through native vegetation, shaded resting places, and small zones for play, exercise and informal gathering. To the east, the front of the site hosts an active street sport area with basketball courts, a running track and a skating zone, ensuring constant movement and energy. To the west, a small cluster of artist residences completes the composition, allowing daily life and creation to populate the area beyond event hours.

The inside of the building is designed as a flexible framework that can evolve with time. A system of movable partitions allows spaces to shift and adapt to exhibitions, seminars, performances, and informal gatherings. The ground floor hosts a series of open and interlinked functions including event halls, exhibition zones, restaurants, food halls and small boutiques. Service spaces such as kitchen, toilets and storage are carefully integrated to support daily activity. On the upper level, workshop areas for artists, studios, offices, lounges and co-working spaces provide a constant creative presence within the building. The new circular punctures act as oculi that capture the Mediterranean light and transform the heavy vault into a soft, breathing structure.

The project seeks to merge architecture and landscape into a seamless public experience. By transforming the industrial heritage of the Bodegas into a porous cultural hub, The Void becomes a place where light, craft and community coexist. It celebrates the spirit of Valencia’s artisans and the irreverent creativity of Las Fallas, offering a space that is flexible, inclusive and timeless, a living architecture for making, gathering and renewal.

The Antiguas Bodegas Vinival, built in 1969 on La Patacona coast in Alboraya, is an industrial complex originally used for wine production. The Bodegas remains an important part of the area’s collective memory and stands out as a heritage with adaptable potential. The project reclaims this abandoned structure as a dynamic space for artistic production and collective expression. The existing silos and tanks are rearrangedas modular capsules forming a flexible infrastructure for creation. Artists can temporarily use these capsules as studios, stages, or performance areas. Open spaces connect these units, encouraging encounters between creators and visitors and making creation a visible, shared process. The surrounding site, cleared of previous structures, offers opportunities for outdoor community and cultural activities.

Las Fallas is a festival of transformation, creativity, and collective participation, where temporary works and acts of social renewal come together. Inspired by this spirit, the project emphasizes flexibility andinteraction. The building’s industrial structure and elements inherited from its former function are preserved to maintain its character, while new functions such as workshops, production studios, common areas, and exhibition spaces encourage creativity and collaboration.

Upon entering the site, visitors are greeted by a small info point, surrounded by greenery and opening onto a straight path that invites exploration. As you approach the silo, the intersection of old and new becomes apparent. The original silo facade was replaced with a new facade connected to the existing structure by a mesh that mimics the original face and serves as a frame for displaying objects. This made the creative process visible and interactive.

Across from the silo, the “Neo/Silo” area stretches out as a fun and colorful space, inspired by Las Fallas, where flexible and interesting areas are created using round forms of various sizes and colors within a green landscape.

At the end of the entrance path, the “Capsule Hub” repurposes elements from the existing silo for various functions. Accessible from the upper floor, the hub continues the reimagining of the facade, acting as a bridge that connects spaces and creates a cohesive architectural language.

Opposite the hub, the “Mural Canvas” serves as a three-dimensional canvas. Visitors can use the wall and the grid-patterned floor for creative engagement, with each part of the grid coming together to symbolically reflect the spirit of Las Fallas.

The entire site embraces the principles of change, renewal, and collective production, proposing a living architecture that evolves through time, use, and participation. Surfaces and boundaries remain open to construction, erasure, and reconstruction, turning creation into a continuous act of rebirth and celebrating impermanence, shared energy, and playful engagement with space.

In the Fallas of Valencia, one burns to be reborn. These ephemeral creations, destined for fire, celebrate the power of time and the beauty of the transient. The city gathers in a ritual that weaves creation and destruction, memory and renewal. The project takes form from this principle, asking what endures through the flames: the gesture, the mark, the transformed matter that forges new connections, ready once again to change in an endless cycle of regeneration.

Fire becomes a creative force, not an act of ruin but a device of spatial and symbolic transformation. It rises from the earth, reshaping its topography. Surfaces twist and open, the voids left by combustion turn into gathering places: courtyards, spaces of relation between people, covered spaces providing shelter. Cracks and residues become tangible memories of the process, scars that are not hidden but integrated into the structure itself. The ground ceases to be a static surface and becomes a living organism, capable of welcoming new functions and experiences.

As in the Fallas, nothing is lost: everything is reborn, in a constant dialogue between matter and memory. The project slides within this tension between creation and destruction, rules and proportions are invaded by fire, which dissolves and regenerates, opening unexpected horizons.

The Bodegas Vinival stand as silent witnesses to this metamorphosis. Their form endures, yet their relationship with the landscape is profoundly transformed. The earth sinks, light pours in from above, and the industrial skeleton reveals itself through new perspectives. Inside, the Museum of the Fallas unfolds between subterranean, introspective rooms and light walkways that cross the original naves, celebrating the rhythm and monumentality of the industrial temple. Metal, concrete, and reflection become poetic matter, guardians of a fragile balance between permanence and change.

At the base of the complex lies the Underlight Hub: a sunken and sheltered space devoted to making, exchange, and the collective act of creation. Here the community gathers to craft, share, rebuild. It is a gift to the city, the beating heart of the regenerated landscape where the gesture of the hand becomes a symbol of care and remembrance.

Around it unfold other spaces inspired by the Valencian festival. The Giants’ Grove is a wild forest inhabited by silent giants, time-worn statues rising among the vegetation like relics suspended between myth and ruin. From within the grove ascends the View Tower, inviting visitors to climb and gaze across the landscape. From its top, the immense statues reveal new perspectives as the view opens toward the sea. The tower becomes a device for reading the relationship between scale, time, and space.

The Shifting Ground continually transforms: from the result of combustion to skate park and gathering place, from playground to site of reflection, embodying the fluid rhythm of perpetual change. Everything that once seemed solid burns, transforms, and dissolves. Yet from the ashes, the new arises: fragile, ephemeral, ready to rewrite the landscape and the relationships that pass through it.

While Las Fallas bursts into life for only five days, its creation spans an entire year — 360 days of research, design, crafting, and anticipation.
The project unveils the hidden process behind the celebration, turning the act of making itself into a continuous public experience.
Throughout the year, the site operates as a living laboratory where ideas are conceived, developed, and transformed into the monumental sculptures of the festival.
When the celebration arrives, these creations migrate to the city’s plazas, ignite, and return to ashes — only to re-enter the cycle of creation once more.
This endless rhythm of creation and destruction, work and festivity, transforms the site into the festival’s permanent backstage — a space where tradition, craft, and innovation coexist.

Our analysis revealed the potential to preserve and reinterpret the existing structures instead of demolishing them.
This strategy extended to the landscape, where existing vegetation informed a new logic of continuity and growth.
The project embraces a multi-layered identity, merging the architectural languages of the preserved buildings with the new interventions.
The historic Bodegas building becomes a visual anchor — framed and celebrated rather than hidden.
By keeping new volumes low and grounded and subtly lifting the terrain, a new inhabitable topography emerges — an active layer that integrates programs beneath it and connects the project to its urban surroundings.

Design it, Build it, Burn it, Redesign it

The architecture manifests the Behind the Festival concept through a living scaffold — a flexible structural system distributed across the site. These lightweight frameworks expand and densify as the festival approaches, turning the site into an architecture that swells with anticipation, mirroring the collective excitement of the city. The project behaves as an evolving organism: a place where ideas are designed, built, broken, and rebuilt — an architecture that participates in the lifecycle of Las Fallas, not merely hosting the event but becoming part of its celebration.

Level of Interaction — From Monument to Open Ground

Once inaccessible, the former industrial complex bore traces of public desire through graffiti covering its walls, a quiet claim of presence.
The new design reverses this condition: using the scaffold system, access is reintroduced at every level from ground to roof, from facades to courtyards. A central void carved through the Bodegas connects the city to the sea, transforming the closed monument into an urban balcony. All existing buildings are opened and made transparent, turning the entire site into an interactive field where architecture and citizens continuously engage, and the spirit of Las Fallas lives not for five days — but all year long.

The project is located in Valencia, a region characterized by the diversity of its landscapes: the historic city center, the Mediterranean coastline, the Turia Park, the Albufera lagoon, and above all, the Huerta, an irrigated agricultural territory dating back to the Muslim period. This diversified agricultural system historically supported the city’s economic and demographic growth and remains today a central element of its cultural identity. However, the Huerta is now weakened by urbanization, industrialization, and the expansion of road and rail infrastructures that fragment the landscape. Monoculture and the use of chemical inputs are degrading the soil, while the agricultural profession suffers from low social and economic recognition.

The project site is located in La Patacona, a neighborhood that was once agricultural and later industrial, and is now primarily residential. The district is enclosed between the sea, the Huerta, the highway, and the railway. It lacks public spaces and vegetation, and suffers from high soil impermeability, which increases flood risks in a climate context marked by droughts and episodes of torrential “cold drop” rains.

In response to these issues, the project proposes to rehabilitate the former wine cellar into a phytoremediation station: once dedicated to wine processing, it now treats water. The system operates naturally thanks to plant roots growing inside greenhouse structures. The station recycles the wastewater of the 5,600 inhabitants of La Patacona, providing irrigation for approximately 200 hectares of Huerta. This reduces pressure on freshwater resources and ensures a steady supply to downstream plots, which are often under-irrigated.

Beyond this technical function, the building becomes a cultural and educational venue. By preserving its industrial structure and by converting the existing tanks into exhibition displays or urban furniture, the Bodega is transformed into a place for gathering and sharing around Valencian culture and the Fallas tradition.

The program brings together several complementary spaces: an exhibition area dedicated to the history and culture of the Fallas. A botanical garden inside the greenhouses, directly linked to the filtration processes, where visitors can stroll. Both an indoor and an outdoor auditorium for conferences and screenings. A library with workspaces, coworking areas, and classrooms. And flexible open spaces that can host workshops and activities.

An interior street runs through the building, connecting the city to the Huerta and inviting residents and visitors to continue their route towards a new agricultural park created on the adjacent wastelands. This park becomes a green corridor linking the sea, the neighborhood, and the agricultural landscape, offering shade, coolness, and places for social interaction.

Thus, the former wine cellar operates at multiple scales: as a water treatment station, a cultural center, and a gateway to the Huerta, it reconnects Valencia with its agricultural territory and shared heritage.

The transformation of the former Bodegas Vinival reimagines an industrial landmark of Alboraya as a place for gathering, making, and celebrating. The project follows the principles of high-quality public space in Valencia’s Mediterranean climate, where shade, greenery and water are essential to year-round comfort and everyday life.

The masterplan unfolds in two complementary zones — cultural and natural — organized through a sequence of six “biomes”. The areas facing main pedestrian routes, housing, and the beach host a city garden with playgrounds and sports facilities, and a public square anchored by a vertical tower made from reclaimed wine barrels. A small pond contributes to the microclimate and enhances the quality of outdoor stay. The former checkpoint is repurposed as an information pavilion that welcomes visitors and introduces the site.

Moving inward, two central “cores” express the duality of the site at most: the ground floor of the winery, which is transformed into a covered plaza integrated into the cultural center, and a planted forest crossed by a shaded gallery providing a wild oasis for walking and rest.

At the far end of the site, more intimate areas accommodate the festive courtyard and a terraced parking hill that shields the site from highway noise while doubling as a spectator terrace for outdoor events. A row of workshops for artisans and Fallas makers borders the courtyard. Operable façades allow workshops to open onto the yard, expanding the space for celebration and enabling festival scenography.

The project’s central ambition is to create an accessible and inclusive environment where celebration and daily life coexist. On the ground level, the entire site remains open and permeable: the former winery ceases to be an enclosed building and becomes part of the urban street network. The whole territory is turned into the civic stage that can host events such as Las Fallas while remaining active year-round.

This coexistence is achieved through the idea of a “building within a building.” A new autonomous structure is inserted into the preserved industrial winery shell and organized in three layers: a compact underground level for technical and service functions; a first floor with a flexible exhibition and public area; and an upper superstructure that steps beyond the original envelope to house a library, co-working spaces, administrative units and a multifunctional hall requiring large spans and abundant daylight.

The structural system carefully interacts with the existing frame: each original column is “embraced” by a cluster of four interlinked supports that carry the load of the new volumes. Two preserved wine barrels become an intimate wine bar — the heart and genius loci of the center. The inserted volume sits with an offset, leaving a continuous circulation loop along the perimeter and allowing visitors to experience the full scale and atmosphere of the historic interior.

Ultimately, Bodegas Vinival evolves into a porous and living infrastructure — a meeting ground of city and landscape, tradition and renewal.

Having entered the 21st century, we find ourselves confronted with the remnants of an industrial past that shaped the identity of many cities. Large factory complexes that once fueled the heart of industry, production, and social life now lie as ruins and emptiness. They are echoes cast in brick and stone of a time t h a tonce thrived and now challenges our responsibility to transform without erasure.
To re-signify without purifying is to understand that memory should not be erased but rekindled. It is about preserving the industrial soul, embracing the void and breathing life through subtle interventions-almost like the fire of Valencia’s Fallas, which symbolizes both destruction and rebirth. Fire does not consume, it reveals), purifies without cleansing, and opens space for creation.
The proposal is inscribed within this logic: transforming the former wineries without denying them. It is not about replacement, but reinterpretation -of their structure and atmosphere-returning to them an active role in urban life. Their original volumes and proportions are preserved, revaluing the silos as symbols of memory and fire: containers of the past that can once again ignite, this time ni the form of art, culture and encounter.
The intervention suggests a new gaze upon the industrial grounds. The “box” stands as the core element, a direct metaphor for the old wine crates that once left the cellars. It
is both container and release: it holds history, but also burns it symbolically as it opens to the public space, allowing the Mediterranean air to pass through its walls and restore its meaning.
The project understands emptiness not as absence, but as potential. Around open spaces-plazas, terraces, green promenades–it promotes coexistence between the built and the natural, between what remains and what lies ahead. Recent years taught us the value of outdoor life, of places to breathe and meet; that lesson becomes the key gesture of this proposal.
Thus, the new winery redefines its relationship with its surroundings: from a closed productive facility to an open cultural and social hub. A new landmark for the city and those who visit it, an active landscape that bridges Past and Present.

«Transformation is the opportunity to make what already exists better. Demolition is an easy and short-term decision. It wastes many things: energy, material, and history. Moreover, it has a very negative social impact. For us, it is an act of violence» Lacaton & Vassal

Natural and urban. Bodegas Healing Forest restores and reimagines the well-being of both humans and the soil together. It focuses on medicinal agroforestry as a space for learning and research, nurturing a reconnection between the Valencian community and its farmland through the appreciation and creation of each product, from its origin to its transformation.

Creation and destruction. In this process, crops serve as the foundation for a series of workshops where medicinal syrups, ointments, balms, and other natural remedies are crafted. In parallel, laboratories produce more complex medicinal products such as essential oils and plant-based derivatives, while also conducting research on the quality of water and soil. Al of these products are offered for sale within the same space, allowing visitors to experience the entire cycle. Through this integrated approach, the project connects agriculture, craftsmanship and production, bridging the three economic sectors, restoring the true value of each product and reimagining the way natural resources are consumed.

Memory and innovation. Designed under bioclimatic principles, the forest retrieves the former landscape of Valencia, incorporating agroforestry practices. Six modules were designed under this system, each including a tall tree, a small tree, and three different bushes, seeking to nourish the soil. The modules arranged considering the sunlight, humidity and the compatibility and needs of each native and endemic plant. Additionally, different species are found within the bodegas, a subtropical high jungle macroclimate and microclimates isolated in capsules with different living beings, adding biodiversity and room for more investigation.

Adapt and reimagine. Through the irrigation system, water acts as both a structure and a symbol, becoming the project’s lifeblood. Starting at a living lake filled with regenerated water and flowing visibly through irrigation pipes that guide visitors along the trail, binding the different spaces into one living system. Making the most of every drop, the Healing Forest seeks to return the used water and captured rainwater to the living lake, purifying ti for reuse. Simultaneously, a condensing roof is implemented inside the bodegas to recover evaporated water, thus optimizing the water cycle within the complex.

Tradition and reinvention. The roots and the soil’s nutrients are as valuable as the plants themselves: therefore, it is crucial to interfere with them as little as possible. Based on this ideology, and on the remaining spaces formed by the agroforestry modules’ distribution, an elevated trail was designed.This single element widens and narrows, welcoming spaces such as labs, workshops, market, and others. Roofs are sustained through tension cables, and isolated columns are strategically distributed throughout the project, converting the entire structure into a bridge. Reimagining the traditional use of a bridge and giving it a new purpose.

Resilience and memory. Aspiring to be a replicable model, this sustainable proposal aims to transcend Valencian territory and inspire other communities around the world. Its purpose is to improve the quality of life through the connection between people, the soil, and the processes that sustain them, demonstrating that another way of inhabiting and producing is possible.

Naus del Foc transforms the former Bodegas Vinival site in Valencia into a civic and cultural landscape built from its own industrial ruins. The project reuses the remains of the complex — walls, graffiti, bricks, and dust — to create a new public architecture rooted in memory. It builds through reuse and transformation, echoing the spirit of Las Fallas, where each cycle of destruction makes space for renewal.

The walls scheduled for demolition are dismantled and reassembled as modular panels. Each one retains its layers of plaster, color, and graffiti. On the ground floor, these graffiti panels form the base of the new interior walls, keeping the raw, marked surfaces visible to the public. On the upper floors, the act is reversed — the white paint is carved out of the brick panels, revealing the rough texture underneath. This process makes construction feel like excavation, turning the memory of labor and decay into a tactile, living surface.

The graffiti-covered perimeter walls are preserved and framed within the new red steel structure, which acts as a visible order that holds together the site’s disorder. The frame doesn’t erase the chaos of the reused walls and varied materials — it gives them rhythm and direction. Like the temporary scaffolds of Las Fallas, it becomes both structure and stage: an open system that celebrates impermanence while giving it form. What cannot be reused as panels — the crushed bricks, dust, and debris — is compacted into new structural columns. These columns literally carry the past, transforming rubble into support.

At the center of the project, the existing silo is cut open and perforated to allow light and circulation. Inside, a double-helix staircase spirals upward, turning what was once a closed container into a condenser of movement and air. It becomes a vertical link between programs and a symbolic heart of renewal. Surrounding the silo are a series of workshops, each about sixty square meters, divided by sliding doors and curtains that allow users to define their own configurations. Flexibility replaces hierarchy, encouraging collaboration and shared authorship of the space.

A large open hall remains intentionally undefined — a grey space for collective use: exhibitions, performances, or gatherings. It is a generous void that invites interpretation. Across the complex, certain structures — like the wall with the traces of the old staircase — are left as frozen memories. The graffiti, once spontaneous and temporary, becomes permanent architecture. In the end, Naus del Foc turns demolition into creation — finding clarity within chaos and permanence within transformation, like the city’s own Las Fallas reborn in brick, dust, and steel.

Ritual of Fire : When Wine Becomes Memory

At the heart of Valencia, the Bodegas Vinival complex—once a key driver of Spain’s wine export—now stands silent, its red brick walls bearing traces of time. This structure is more than a remnant of industry; it is a vessel for transformation waiting to unfold. The project is founded on the belief that true beauty emerges from impermanence—just as Las Fallas burns monumental creations to mark the cycle of rebirth. The revitalization of Bodegas is not an act of nostalgia but an architectural narrative of metamorphosis, a living organism that breathes through light, space, and time.

The design rejects historical erasure by preserving the existing steel structure, whose exposed frame becomes a declaration of structural honesty. Glass roofs and skylights are introduced to reinforce natural illumination, allowing daylight to pierce through the interior and animate the texture of aged brick walls. The bare masonry remains visible, revealing its patina as a material memory of collective history. Contemporary interventions emerge as floating glass volumes, inserted between the old frames—creating a spatial dialogue between solid and transparent, weight and lightness, past and present.

At the core lies a vertical glass atrium, functioning as an architectural cocoon that orchestrates light, air, and human movement across levels. By day, sunlight filters through layers of brick and glass, projecting dynamic shadows that evolve over time. By night, interior illumination transforms the building into a luminous lantern—reviving the district with renewed vitality.

From the atrium, visitors traverse a pedestrian bridge that spans between agricultural fields to the west and the coastline to the east. This bridge forms the primary axis of circulation, connecting ecological and cultural landscapes—earth, city, and sea. The path provides an open architectural journey where light, wind, and sound become part of spatial experience.

At the intersection of the bridge and the building lies the plaza above the reflecting pool, a space with dual character. During the Las Fallas festival, it transforms into a public stage and ceremonial ground for displaying and burning sculptures—symbolizing renewal through fire. Outside the festival season, the same plaza serves as a social commons, where citizens gather, rest, and engage in everyday life. The pool beneath the plaza is more than aesthetic—it functions as a passive cooling system and a mirror that captures reflections of light, shadow, and time.

The interior program embraces adaptability: exhibition galleries, workshops, and multipurpose halls are organized within a flexible structural grid, allowing reconfiguration without altering the primary framework. This openness encourages cultural continuity and collective participation.

Three conceptual anchors guide the design: Las Fallas as cultural transformation, the butterfly as biological metaphor of metamorphosis, and the bridge as spatial and social connector. Together, they form a living architectural system. In this way, Bodegas Vinival is not merely restored but reborn—an architecture that breathes through light, time, and human presence: a space made eternal by its constant transformation.

This project offers an architectural reinterpretation of Las Fallas, the ritualistic and cyclical festival of Valencia. Each year, monumental figures are built only to be burned—an act not of erasure, but of transformation. Here, the logic of disappearance as renewal becomes the framework for design, inviting architecture to function not as a fixed object, but as a process of deconstruction, redistribution, and regrowth.

The original Bodegas structure is dismantled into three key elements—roof, wall, and steel frame—each carefully repositioned across the site to serve new spatial and symbolic roles. Roofs become open canopies for gathering and performance;

walls act as vertical exhibition surfaces or circulation paths; frames support flexible modules for workshops, rest, and display. Together, they form a field of fragments, in which memory is not preserved statically but recomposed dynamically.

Former wine tanks are also retained and reimagined as fabrication modules and vertical cores. Their dense, cylindrical forms accommodate elevators, workshops, and storage, offering a new kind of architectural gravity anchored in material memory. This is not simple reuse, but an act of recomposition— where the traces of the past support evolving future possibilities.

The project moves away from conventional renovation, which often confines itself to preserving a singular form. Instead, it proposes a system where one building fractures into many, allowing its spirit to spread across the site and resonate into the city. Architecture here is mutable, interactive, and open— bridging the temporary nature of festival with the slower rhythms of everyday urban life.

As the title suggests, this is Where Things Fall to Grow:a place where architecture breaks apart to multiply meaning. Through fragmentation, repositioning, and reinterpretation, this project transforms architectural memory into a living system of change.

On the edge of La Patacona beach in Alboraya, Valencia, Bodegas Vinival has pulsed with sea breezes, grape must and the city’s industrial heartbeat since 1969. Production ceased in 2008, yet the brick colossus—nicknamed “the Kremlin” by locals—did not bow out; it was listed as industrial heritage, waiting quietly for a gentle renaissance. Faced with the absence of a large public anchor for both the neighbourhood and beach tourism, we adopt a strategy of “minimum intervention, maximum sharing” to transform the winery and its hinterland into a self-sufficient coastal living-room.

The landmark main cellar is retained, while later, damaged annexes are removed, allowing the pure volume and raw brick texture to remain the protagonist. New programmes slip invisibly into place: a semi-buried northern block merges a public market with a planted belvedere, gently lifting a slow-loop promenade that frames the port, the sea and the pyrotechnics of Las Fallas. An open ring of circulation and urban greenery wraps the cellar, creating a shaded civic plaza, stepped seating and flexible stalls for food markets; a continuous permeable pavement and planting ribbon stitches the site into the coastal jogging network, turning it into the hub of the district’s slow-mobility system.

Economically, a zero-waste loop is implanted: old wine vats are reborn as furniture for an on-site wine museum, outdoor food carts and landscape seating; a craft brewery, boutique hotel, seafood tapas bar, tasting pavilion and student-run vineyard generate 365-day programming. Festival and everyday life, residents and visitors, culture and commerce ferment together. Bodegas Vinival is no longer a monument to 1969, but a perpetual urban brewer—where every on-shore breeze, every fire-cracker and every glass of freshly-made sangria finds a shared vessel.

In our proposal, The Structure Within the Void, the existing industrial fabric is preserved whilethe urban void is reinterpreted. Our restrained design approach emphasizes the building’shistorical value and transforms the memory of industrial production into a form of contemporary public life. In this way, the structure exists within the void like an “artifact,” quietly expressing its own narrative amid the surrounding stillness.

Along the northern façade, a ground excavation defines both a new entrance and an approachsequence. By lowering the terrain, a continuous relationship is established between the urban void and the building. This spatial arrangement allows users to experience the scale of thestructure anew at every level through a layered circulation system.

The site, fragmented by the intersections of pedestrian and vehicular movements, has beenaddressed through a comprehensive design strategy that seeks to serve the city as a whole. Urban amphitheaters and park areas are proposed as meeting points, while an open parkingarea on the western side—facing the vehicular axis—provides easy access and strengthensconnectivity around the site.

Surrounding the structure, the urban amphitheater follows the topography, gradually rising tocreate a flexible ground for festivals, performances, and daily gatherings. This amphitheaternot only defines the public realm but also softens the monumental presence of the building, bringing it closer to the human scale.

On the uppermost level, a flexible festival and exhibition floor defined by movable partitionpanels is proposed. This floor adapts to various programs throughout the year, reinforcing thebuilding’s dynamic and civic character. Additionally, a sculpture elevator system is introduced to facilitate the transport of large-scale artworks and equipment. This systemenables efficient movement of materials required for festivals, fairs, and events, allowing thefestival floor to seamlessly connect with the rear entrance and adjust to diverse spatial needs.

Maintaining its industrial identity, the building is reinterpreted through permeable surfacesand open circulation. Sunlight filters into the interior, creating a fluid connection betweeninside and outside. The floor configuration, organized around a linear vertical circulation axiswith amphitheater-like elements, allows users to perceive the building’s monumental scaleand spatial rhythm throughout their movement.

Ultimately, the project proposes a structure that preserves the memory of production whileproviding a foundation for the public life of the future — a building that integrates with thecity, transforms over time, and breathes together with its surroundings.