The approach to revitalize the Sampaio Ferreira Factory focused on the exhibition of the memory of the place and the industrial activity that developed the region. In the first analysis, instead of imposing a specific use for each abandoned building, links were established between existing and surrounding buildings, as well as between the different scales of the urban set and the moments of intervention.

In this way, a permeable relationship was created with the surrounding and urban environment through the definition of moments of break along the existing buildings as links of visual communication. Thus, the open spaces created are an important element in the representation of an idea for the whole, in which the constructions and the surrounding emptiness complement each other.

Starting from a principle of a disposition of buildings along an inner path that is resolved in squares and green spaces, the proposal assumes a public character that defines it. From these moments of connection, it is possible to see, in the intervals of the buildings, the natural landscape of the West with the constant movement of the Ave River, creating an atmosphere where the surroundings and the industrial complex unite in a dialogue of parts that correspond in an open manner. Thus, the articulation of space takes place through elements such as ramps, sidewalks, green spaces and squares that return the idea of urban valley, public character, social dynamics and urban experience to an area abandoned in its own temporality.

Open Memory is thus a creative proposal in an abandoned industrial architecture that is intended as a place of public character where it is possible to know the industrial memory while experiencing the natural essence of the Valley.

The rehabilitation of this complex also involves the opening of the industrial complex to the daily life of Riba D’Ave. In order to achieve this, previously industrial routes were rehabilitated, connecting the various pavilions along a longitudinal axis defined by the imposing pre-existing stone walls, punctually marked by points of vertical connection between the different levels of the terrain.

At a lower level, the more technical route connects the different parts of this set allowing access for loads and discharges without coinciding with the common paths that develop in parallel at an upper elevation along a pre-existing road. In the East-West direction, there is the pedestrian and cycle bridge that rips this joint in half and shortening the relations between the two banks. From this trait also results the creation of a square where the verticality of the old chimney announces the beginning of the museological experience.