The project integrates the rehabilitation of three traditional buildings that, until then, had been a residence and a recording studio, with the construction of nine accommodations that respect the vegetation of the place and reinforce the history of what has already been built.
To achieve this, the authors worked at four levels:
2. The different buildings were formally defined trying to combine the capricious evolution of the vegetation with the rational element of the existing buildings, aware of their origin, their present and their future.
3. The supports on which to support the light wooden structures of the buildings were defined without damaging the roots of the trees between which they are integrated, as well as the heights and accesses of the buildings, seeking the union between the natural and the natural. artificial to initiate a dialogue that is based on the past, based on the present and projects into the future.
4. The new buildings and renovations were constructed constructively with a sound concatenation of wooden lattices with which it is resolved from the structure to the furniture, in honor of the most famous harps in the world that, for many years, filled this environment place.
These four concepts endow the Albeida Complex with a musical order resulting from an elaborate construction system in wood that determines finishes and proportions.
Project description by Alfonso Salgado Suárez and Francisco Liñares Túñez
We received the order for a unique hotel intervention in the Albeida area, the beautiful beginning of the Muros y Noia estuary, consisting of the rehabilitation of three traditional buildings that had to be completed with nine accommodations to be resolved next to them, in a space already humanized with traditional fences and a hórreo, but which had been colonized by a large number of deciduous trees.
The powerful history of traditional buildings, which until that day had been the residence and recording studio of a musician who wrote the most important lines in the contemporary history of Galician music, as well as the premise of conserving vegetation and every one of the traditional elements built to incorporate them into the project, they determined the shape and implementation at four levels of detail.
At a global level, a first approach to the plot is made from its section, obtaining some first spots, seeking the intimacy of each building without giving up a surprising perspective, among the branches of the trees, of the mouth of the Tambre River, the mountains del Barbanza, the town of Noia and, in short, the source of the Muros-Noia estuary.
At a second level, the different buildings are formally defined, trying to mix the capricious evolution of the different plant species with the rational of the existing traditional buildings, aware of their origin, their present, and their future.
In a third level, the supports are defined on which to support the light wooden structures without damaging the roots of the trees between which they are integrated. The heights of the different buildings and the accesses are also defined, seeking to integrate the different existing buildings, erasing the line between buildings, pre-existing, natural, and artificial.
On a fourth level, the new buildings and renovations are defined constructively with a sound concatenation of wooden lattices with which it is resolved from the structure to the furniture, in honor of the most famous harps in the world that, for many years filled with harmony that beautiful place.
The entire intervention responds to this musical order through an elaborate wooden construction system that determines finishes and proportions.
Music, past, present, and it will be seen.
