This architectural piece presented here arises from the respect and memory of the place, using mechanisms of activation of the landscape, with the aim of perceiving the old experiences. The rehabilitation of the Antigua Lonja de Denia is proposed, maintaining the protected elements of the building and the identity of the building for the new Tourist Office of Denia and multipurpose space.
La Lonja is revived from the respect and memory of the place, the sea and the fishermen.
It is an object-condenser that provides a borderline atmosphere between the present and the lived. To achieve this atmosphere, two lines of action are proposed from the main elements on which we act, the ground plane and the deck. We access from the outside of the path on the pixelized sheet that accompanies us along the sea and the fishing boats, having the feeling of walking raised above a sheet of water, which forms the starting horizontal plane, giving it that feeling of floating, entering the interior where the light is pixelized and the pavement is blurred to become a moving plane generated by the light changes of the deck, generating a scenery prone to generate that feeling of transit, while the seascape is framed through the windows.
The first plane in contact with the ground, the metaphorical plane of the fish boxes left by the fishermen, the plane of the sea, generated from a pixelized floor with flake geometry. A floor made to measure with glazed ceramics through an artisanal process by the ceramist Cumella. A landscape created by means of angular, flaked pieces that dialogues with the sea, generating a link that makes the border with the sea disappear.
Secondly, the roof as an element that filters the light through the nets, those nets that the fishermen still spread, protected by the fish market, to repair and clean them. A light and transparent cover, which seeks to establish in the vertical plane of vision, a visual relationship with the sky, a fundamental element for the life of the fishermen, giving this vision a perceptive character more phenomenological than literal, a kind of “sfumatto”, of glaze, achieved through the use of a mesh, a net, which in turn is sensitive, permeable, to the atmospheric conditions of the space that separates us from the sky, constituting a “diffuse limit” that, together with the colored scales, recreates a temporal and spatial game that everyone can feel in their own way. This new roof dialogues with its geometry with the metallic structures of the port and the existing benches.
