6 September, 2020
4 September, 2020



Starter date

1st September of 2015

End date

September 30th, 2016

Fecha de inauguración

6 de mayo de 2017


Ayuntamiento de Porcuna (Jaén)


Plaza de Andalucía nº 1, 23790 Porcuna (Andalucía, España)


Pablo M. Millán Millán


Javier Callejas


Javier Serrano Terrones (Ejecución)
Javier Bengoa Díaz (Estructuras)
Rafael Antonio Saco Montilla (Arqueología)


On the restoration of the galleries of the Granary of Porcuna (Jaén)
Pablo-M. Millán Millán

“This is the architecture of the Museum, ideally without walls, doors, windows, or all those defenses that are evident, thought out and repeated. Museums that collect what was in palaces, or churches, or cabins, or attics, covered with glory or dust, folded under the mattress of a bed, and that now observes me in silence, in a light indifferent to what moves too”. With this fragment of Álvaro Siza, the feel of a museum room is perfectly captured.

Although we want the space we are dealing with to be a place with an entity in itself, independent of use, after the intervention it will be allocated to house several rooms for the Archaeological Museum of the city of Porcuna. We think of an environment without doors, without windows and without walls, a place covered by a carpet. Simply that, a carpet that allows us to wander among the archaeological remains looking for the space between the ruins.

The project is located in the underground of the current Town Hall of Porcuna (Jaén). The history of the building is quite complex and interesting. It has its origin in a wheat deposit that was ordered built by Carlos IV. This important building-warehouse underwent a remarkable transformation in 1885 to be the seat of the Municipality of Porcuna. After the Civil War, given the poor state in which the building was left by the contest and within the National Plan of Devastated Regions, Andrés Pajares Pardo intervenes in it (1941) by attaching new constructions that will remain practically unchanged until today.

Our project focuses on the lower level of the main hall of the City Hall, which corresponds to the foundations of the old royal pósito. Given the nature of the wheat warehouse that this building has, the storage level was raised above the natural terrain to prevent moisture from reaching the accumulated grain. To do this, ventilation chambers were created between the natural terrain level and the grain loading level. This will be the place of our intervention. Being a space considered residual has been used throughout history to uses without entity, such as prison or warehouse. Until now, it has been a space completely unknown to the population. The project will try to make this secondary place a protagonist place with the minimum possible intervention.

Although the space in which we have worked never had the vocation of being shown and traveled, it is a place of great interest because it is surrounded by important pre-existing conditions. On the one hand, under the height of the natural terrain, the archeology of the Roman city of Obulco, which will emerge very quickly. On the other, on this level, the own vaulted construction of the ventilation chambers.

The project, from its origin was raised with a main objective: an intervention that would allow us to wander among the past, look for the space between the ruins, both the underlying archaeological, and emerging. Thus, after restoring all the remains and eliminating all the subsequent additions that muddied the original construction, the project itself has been a white carpet in which everything is contained. This carpet will allow, separating from any pre-existing element, lead us through the different rooms, showing this unique container without any doubt of what is original and what has been incorporated with the intervention.

To be able to make a secondary and residual space a space with an entity in itself, the original ground level has been modified, perhaps the strongest operation carried out in these works. With this operation it has been possible to depress the ground by more than one meter, thus making the spaces silenced become protagonists.