Chillida Lantoki is the first performance of an urban renewal plan aimed at the use of industrial ruins left by the closure of the paper mill Patricio Elorza SA, as therapy against physical degradation and socioeconomic triggered by the relocation of businesses. The focus of this exercise on industrial recycling is done from public participation promoted by the project through Lenbur Foundation for local development. In this case the architectural project try to unite past and present in perspective and as an indication of its time, assumes the respect for the environment as another parameter in the constructive resolution.
The architectural aim for the home was for it to merge with the sorrounding landscape, a valley of vineyards and olive threes, clearly signaling an attitude more concerned with the contextual determinants than with itself through its confused geometry and a certain expectant materiality - an uninhibited architecture waiting for its transformation with the passing of time, for its façades to turn gray in the sun and bear witness to the marks of joyfull lived lives as they appear.
This project has involved a research on ethical and aesthetic possibilities of forbear as a motor of a rehabilitation project, leading to a transfiguration by a small intervention distinguished by unequivocal contemporary formality. It aims to provide spatial sensations suggested by the analysis of the program that the original condition of the building can not provide.
The rest, consolidate, clean and tidy industrial space that itself serves as a tool forinterpreting the industrial reality it has lived in these valleys.
This position may be is the first strong approach of the project. The experience of architecture is exhibited, but against a purely visual treatment, is seeking further transmission of more complex feelings that have to do with the gathering, the expectation and the predisposition. The tectonic tries to seduce the senses through spatiality, light and textures. The subtle expressive load affects the staging of the two environments in which the exhibition focuses. The different qualities of light and space recreate the solitude of the workshop and the forge against the clear and robust factory in which melted "el peine del viento".
The second argument has to do with the ways of making the current architecture. Operating through cooperative processes in which the architect assumes the role of strategist or synergies conniving. Such work becomes a story full of complicity in which each find or contribution is an opportunity. Thus the project is eveloped as a choral narrative in which Lenbur Foundation, Chillida Leku Foundation, the team of architects and engineers, operators, manufacturers, photographic reports of Jesus Uriarte and Català Roca, all offer tracks on how to act to achieve the desired atmosphere.
But, without a shadow of a doubt, the most inspiring to face the rehabilitation of the building is in Chillida's words: "The good gardener is primarily a good pruner"(“4). The most common question throughout the process has been, ¿What to remove? and the answer, Only the indispensable. The ingredients to transform industrial reality to museum were actually there. So reusing architectural elements, furniture and lighting has been the modus operandi, respecting the utmost for the culture and the industrial logic of the building and its contents.