in Campo de Criptana
The project encompasses the century-old traces and styles of Campo de Criptana, mixing the popular whitewashed adobe walls with indigo blue base along with the palatial homes of the old nobility.

Throughout the design process Arquinur took into account Campo de Criptana’s fundamental principle – respect for the town’s unique fabric, urbanity and general cohesiveness – with the aim of making what is essentially a large “container” blend in with Campo de Criptana’s architecture.

Adapting a building of such size to a small urban layout with building size restrictions is a challenge. Arquinur opted for a design of slopped roofs that frame the building, along with traditional textures like white plaster and the traditional Valdepeñas stone, using glass, small curtain wall glass panels and windows only where it was necessary to enhance and connect the interior with the exterior. The ground floor access leads to a large, open two-story entrance with views to the building’s spacious interior and the sides of the great hall which are intersected by two large staircases leading to the second floor.

Los diferentes programas de gran sala, sala de ensayos, cafetería etc, se van encadenando y relacionando a través deambulatorios y espacios vacíos de geometrías complejas. El espacio interior desde el gran hall de entrada, crea un espacio fluido y flexible gracias a la luz natural y a las curvas de los volúmenes principales de amable trazado.

The great hall, rehearsal room, cafeteria, etc., are linked through geometrically complex passageways and empty spaces. The interior area leading from the great entrance hall creates a fluid and flexible space, thanks to natural light and the curves of the main rooms in the large, welcoming layout. The building’s inner workings are clear and organized, all revolving around the central utility room with clearly outlined walkways. Said room is located in the basement and can be accessed by ramp to the right of the entrance, in compliance with Castile-La Mancha’s Accessibility Law.

The ceiling was designed with concave shapes and Eyong wood – the best material for high quality sound – panelling to best distribute and disperse sound and provide audiences with an unbeatable listening experience. In addition, special attention was paid to acoustics, auditorium design and paving, and floating Iroko wood floors were installed. The great hall is mainly made of reflective surfaces, with a sliding roof, adaptable to a range of events and performances and designed to vary reverberation time.