January 10, 2025
Giving emblematic buildings a new lease of life: two projects from Andalusia
Each city has its own story to tell, shaped by history, tradition, identity and memory. That is why we are seeing increasing efforts to ensure proper town planning and preserve buildings. Despite this, there continue to be notable regional differences and we still have a lot of work to do.
Spain is a country steeped in history, yet one where cities are rapidly expanding. This has led it to introduce strict measures to protect historic and emblematic buildings. However, experts all agree that a good restoration strategy should go beyond simply protecting, ensuring new and old coexist in harmony.
Two projects that reflect current trends and best practices in this area are La Casona del Parque, the current site of Málaga City Hall, and the Palomar building, part of the Cruzcampo brewery in Seville.
Daniel Corredor is one of the architects at Ayesa involved in these projects. He explains: ‘Spain is among the countries in Europe with the most historic heritage. However, it’s important to differentiate between buildings that may be considered truly historic and those that are not. In terms of the latter, the average age is 45, the highest in Europe. These tend to be incredibly inefficient and use lots of electricity. By 2030 they are required to have an efficiency rating of ‘D’, which means a lot of work needs to be done’.
Miguel Rabán, a member of Ayesa’s Architecture team, adds: ‘We’re changing our approach to older buildings, and looking at new ways of bringing value to them. For example, in the 60s a number of buildings were demolished in Seville. One example is the Marqués de Palomares building in Plaza del Duque. Nowadays, this wouldn’t be allowed. It’s essentially the result of changing attitudes not only in architecture but in society as a whole’.
Rosa García Muelas, head of the Cruzcampo project, notes: ‘There are certain areas in Seville, such as Avenida de la Palmera, which require a carefully thought-out approach in terms of how they are managed. We’re faced with two challenges: one is renovating buildings so they meet current energy efficiency requirements and the second is preserving historic buildings and their surroundings’.
Daniel: ‘Some countries certainly have a greater awareness when it comes to neomodern and contemporary buildings dating back to the 20th century. In Spain, these kinds of buildings are largely overlooked.’
Miguel: ‘The same happens with industrial heritage. Here, we’re not just concerned with restoration, but looking at how modern buildings offer things that those from say the 17th century don’t. One example would be that they lend themselves particularly well to repurposing, meaning projects can go beyond simple restoration. Since the transformation of Madrid’s Matadero (slaughterhouse) into a contemporary arts centre, similar projects have sprung up throughout Spain to repurpose these kinds of buildings, which take up large amounts of space in cities. Nevertheless, we’re still light years behind the UK, the Nordic countries and Germany.’
Miguel: ‘We’re often quick to glorify buildings with a classic style, but often we forget to ask ourselves if our belief is justified. We also sometimes end up giving too much importance to certain features, say a rail, which might not have even been part of the original building. This means we often fall into the trap of overprotecting.’
Rosa: ‘Obviously, we need to carefully consider what should be protected and to what extent. It’s important buildings have a specific use as this means they’ll be maintained and ultimately preserved. The challenge we face though is the cost associated with carrying out work and preserving specific features. That’s why it’s so important to carry out an analysis of what is to be kept.’
Miguel: ‘Yes, but the way we go about renovating and restoring historic and more recent buildings is very different. In terms of historic heritage, we’re seeing some really interesting ideas, which aren’t necessarily focused on returning the building to its exact original design or reproducing a photo from 30 or 40 years ago. Uses change, new material and modern finishes are added, and in some cases glass or concrete partitions are installed. Also, elegant, natural materials are being used and sometimes incorporated in new ways. For example, in Málaga, we’re seeing pine wood, Sierra Elvira limestone and brass gaining popularity. It’s a great opportunity to bring back materials that have been long forgotten, and a trend we’re seeing in Central Europe and Italy. Personally, I find it all really exciting.’
Rosa: ‘When planning projects, we have to decide on the impact we want to have on the building, and indeed if we want our work to be visible. For example, we might add something new or restore existing features by using age-old techniques and materials. The options are endless. Whatever the case may be, a thorough analysis of construction methods and traditional materials is always required. Two challenges we face are just how specialised trades have become, and the lack of knowledge amongst construction teams in terms of traditional materials, such as lime mortar. Nowadays, construction is a highly specialised sector and many artisan trades are dying out.’
Miguel: ‘These buildings can have been anything from houses to ammunition stores, where things have been torn down, new walls put up… They often bear scares and restoring them can be incredibly complex. The true challenge is establishing what is worth keeping and what we want to make stand out.’
Daniel: ‘Although each project involving a historic building is unique, the idea is to restore features that were central to the original design and establish what should be kept, whilst bringing a contemporary touch. Essentially, this means respecting the building’s past as much as possible.’
Miguel: ‘Yes, for example, with the former Palomar building, now the Cruzcampo Tower, the priority was to keep the roof as well as maintain its shape and height, which make it a prominent feature of the neighbourhood. It had floor slabs, areas where you couldn’t walk and columns between floors. We wanted to create multi-purpose spaces, but the building didn’t have any windows as it used to be a fermentation silo. That led us to include a curtain wall made from glass. What I particularly like is that you can see how the old and new intertwine. For example, remains of the beam we removed are still visible.’
Rosa: ‘As we had to remove the floor slabs and central columns, a top-to bottom approach was taken for demolition. So, to demolish the floor slabs, tie rods were installed and anchored with fastening plates to the columns on both sides. A new slab was then put in place and the one below it was demolished. The slabs, the fastening plates for the tie rods and the new metal structure fitted onto the existing concrete one are visible on the finished building, essentially telling the story of the work carried out. The project has seen new features woven onto existing structures, as unexpected findings have seen multiple changes made to the original plans. For example, as the materials used in the original wall coverings were discovered, the coatings and finishes had to be adapted to ensure they met the necessary building standards.’
Miguel: ‘What’s also interesting about La Casona del Parque in Málaga is that it’s a Place of Cultural Interest. As it houses Málaga City Hall, the aim was to make it more accessible to the public. As such, the project involved creating new spaces for events, exhibitions and press conferences. A lot of work had already been done on the building and this had to undone or improved. This involved restoring its roof and covering the courtyard. Also, to make it more sustainable, the design included a glass photovoltaic ceiling, which acts as a skylight and generates electricity for the building.’
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