客户要求在Albeida Place，在美丽的Muros-Noia河口的上游和源头有一个奇特的酒店干预：九个豁免和新楼层的住宿，必须补充四个传统建筑的恢复，除了恢复和重视一个明智的人性化的空间，有一个美丽的hórreo（提高粮仓）和砖石墙，轻轻勾勒出领土，虽然现在被大量的落叶殖民。
The client demands a singular hotel intervention in Albeida Place, in the beautiful headwaters and source of the Muros- Noia estuary: nine exempt and new-floor accommodations that must complement the rehabilitation of four traditional constructions, in addition to recovering and valuing a space wisely humanized, with a beautiful hórreo (raised granary) and masonry walls that gently outline the territory, although now colonized by a large number of deciduous.
传统建筑的强大历史，直到昨天还是一位音乐家的住所和录音室，他创作了加利西亚当代音乐的一些最相关的线条，以及对丰富的植被和建筑领土的照顾和保护，决定并丰富了通过几个层次的近似项目的方法。
The powerful history of traditional buildings, until yesterday, residence and recording studio of a musician who has composed some of the most relevant lines of contemporary music in Galicia, as well as the care and conservation of both the rich vegetation and the built territory, determined but enriched the approach to the project through several levels of approximation.
第一个层次，最全球性的，允许我们通过部分接近，这给了我们一些第一点，目的是保持每个建筑的亲密性，但不放弃美丽的景色，在分支之间，首先是坦布雷河口，诺亚村俯瞰河口，几乎在其顶点，在背景是巴班扎的山脉，作为一个幕布。
The first level, the most global, allows us to approach through the section, which gives us some first spots, with the aim of maintaining the intimacy of each construction, but without giving up the beautiful views, between the branches, on the mouth of the Tambre river in the first place, and the village of Noia overlooking to the estuary, almost in its vertex, and in the background the mountains of Barbanza, as a curtain.
在第二层，该方法继续精确地定义新的建筑，它们的精确位置，谨慎地考虑它们将与之共存的植物世界，但也考虑它们将与之对话的传统先存。
On the second level, the approach continues with the exact definition of the new buildings, their precise situation, scrupulous of the vegetable world with which they are going to coexist but also of the traditional pre-existence with which they are going to dialogue.
轻巧的木质结构放置在领土上，保存着树木的根部，与它们自然地混合。任意的限制被抹去了，一切都在亲切的对话中流动，因为自然和人工发起了一场基于过去的对话，定居在现在，并被投射到未来。
The light wooden structures rest on the territory saving the roots of the trees, with which they mix naturally. The heights of the platforms, access routes, and arrivals are specified…Arbitrary limits are erased and everything flows in a cordial conversation, because the natural and the artificial initiate a dialogue that is based on the past, settles in the present, and is projected towards the future.
最后，建设性解决方案的确切定义唤起了一连串的关系：木制框架提供了一个系统，在这个系统中，每一个新的步骤都以某种方式插入到前一个步骤中，在不同的干预规模中，支撑结构和家具的细节都得到解决。仿佛是一个五角星，不同的旋律指的是主旋律的变化，以纪念世界上最有名的竖琴，这么多年来，它们让这个多毛的地方充满了和谐。
Finally, the exact definition of the constructive solutions evokes a chain of relations: the wooden frameworks provide a system in which each new step is somehow insinuated in the previous one, in the different scales of intervention, where both the supporting structures and the details of the furniture are resolved. As if it were a pentagram, the different melodies refer to variations of the main theme, in honor of the most famous harps in the world, which for so many years filled this hairy place with harmony.
一个维持的音乐秩序，决定了完成度和比例。音乐，过去，现在，我们会看到。
A musical order that is maintained and that determines finishes and proportions. Music, past, present and we´ll see.
Architects: Salgado E Liñares Arquitectos
Area: 5866 ft²
Year: 2019
Photographs: Héctor Santos-Díez, Roi Alonso
Manufacturers: Tente Construcciones Modulares
Lead Architects: Francisco Liñares, Alfonso Salgado
Development Architect:Carla Agra
Work Team:Miguel Raposo, Castor Campos, Jaime Novoa, Abraham Viqueira, Marcos Beiras, Carlos Lousame
Promoters:Do Artesanato CAC, SL, Renata Lema Turnes, Manuel Lema Sieira, Saladina Turnes Romero
Engineer:Manuel Liñares
Stonework:Manuel Lema Sieira
Carpenters:Sergio Santos García, José Ramón Lage Riomad, Manuel Lourido Nieto
Construction:Mario Rey, Manuel García Perol
City:Serra de Outes
Country:Spain