 Sankogat of the wine is allowed to refer to a period of history where the economy of wine growing becomes moral for growth and change. The Sankogat of the wine is therefore one of the pillars of the local historical narrative and generator of a major heritage in the current historic Cuban landscape. This presentation focuses on the management of this asset in which the city council where I work as heritage officer in its museum becomes one of the main agents. In my opinion, the main concern is conservation of the urban landscape, how to preserve its historicity, its ability to convey the spirit of a society to keep the authentic and genuine character of the place and give tools for citizens to explore common identity and span critical thinking. The city of Sankogat dates back to medieval times when the monastery of Sankogat promoted the cultivation of the land and the creation of Macias, the traditional farms, and the village next to it. From the 18th century, wine cultivation became a major issue in rural Sankogat and the motor of change. From the end of 19th century, the rural village has developed to become a residential city of services thanks to the proximity and good communications with Barcelona and its appeal as a town with little industry and a friendly urban environment. Today, there are 90,000 people with a high proportion of newcomers in recent years. We focus now on the Sankogat of the wine. Catalonia lives in the 18th and 19th centuries, a strong economic movement based in part of wine growing. Northern Europe and America ask for wines and spirits. The Catalan countryside, which used to produce wine at an inner scale, becomes so specialized that models an in-landscape, the economy, and social relations. This also occurs in Sankogat. Vine just spread around and occupy ancient forests. Today, this landscape has disappeared, it's forest again. But to keep the Macias, they adapted their facilities to accommodate the increase in the production of wine. The most common solution was the addition of the cellar at the back of the house, no site to avoid sand and from times the condition of wine making. But every farm is a small world, so we have modest premises to develop to develop production facilities driven by investors. Half of 42 standing farms still preserve, but don't use anymore, some of the wine infrastructure. And then the village grows, and it does so by following new violence that shaped a new urban landscape. The work of the vineyard requires more manpower and needs a new families arrive. They grow small plots of vineyards in ownership or as travesties and make wine at home. We identified two phases of growth. The first one, late 8th, 10th century, mid 19th century. The old medieval village grows following the ancient rules and opening new streets. The new houses follow a very regular pattern, very simple in fabric and composition, but very effective in landscape rhythm. This corresponds with the austerity of peasants and the need for quick economic housing. They are built with brick, the facade has a molded arch doorway and only two windows, nothing else. Inside, the ground floor houses the workspaces, the kitchen and the wine cellar with a back where grapes were tread on and machinery and tools to make the wine. On the second half of the 19th century, a new quarter is developed around a new square, especially in the 17th, 1880s. In conjunction with a new boost on wine making. At this time, the French wine goes into crisis because of the Philoxydant and the demand for Catalan wines increases. That provokes a gold rush that will suddenly, and suddenly, with the arrival of the plic here, around 1887 in Sankogad. This new housing shows higher quality standards in keeping with the situation of economic boom. Houses are higher with more and wider windows to improve failure and light conditions. They are also embellished with ornamental elements such as the typical balustrades on the top. Inside, the cellar continues to be essential. These one maker houses are still the essence of the historical center, but each time alterations are breeder and reduce the areas that still remain the initial chapter. Now, some milestones. The art in pottery, it provided tableware, tiles for wine vats, and terracotta ornaments for the houses built in the wine gold rush. And the cooperative winery. This is the flagship of our heritage of the wine and a final and collective milestone and a small architectural jewel. The crisis of the Philoxydant plic was overcome 10 years later, but wine making could never be the same anymore. Overproduction and selling at a loss will matter the following years. Wine making will survive in many places by means of creating a cooperative cellar where partners could bring their weights to make wine more efficiently and sell it at the best price. In 1921, the local cooperative cellar is created and will articulate economic and social life of local people until 1988. The wine making room designed by architect Cesar Martinell is a magnificent building. Next to this architectural heritage, we also have a wide range of artifacts and documents that give an account of other aspects of wine called technology in the field and in the cellar, related activities like construction or transport, domestic life, social relations, associative and political activism, et cetera. Now, what is being done about this? The city has carried out some actions to preserve this heritage and to make it worth. But in my opinion, there is still a lack of coordinated work to give enough coins and strength to each of the actions. There is some work going on in this direction. Knowledge and research. The tradition of wine in the city is grasped at a popular level, but I would say that it is in the last few years that we have become aware of the real scope of the mark of this past in the city today. Since the launching of the Museum of Agriological Research, both under one and an architecture, is applied systematically and this has allowed us to see this reality. A bit of progress has been done in the identification of the heritage of the wine, but we need to deepen this knowledge and social, economical and cultural background. Conservation. This is the real great challenge, especially when we refer to modest housing. These are the main problems that affect in general. The degree of alteration of buildings and ensembles, which make it difficult to be aware about its potential and value. Planning. I will show you, you can see it. When building expectations are higher than what is built, they sentence houses to demolition at a certain term and there's almost anything you can do. Physical obsolescence. Sometimes this is an excuse, but sometimes it's real when proper maintenance has not been done. And current trends in housing that we all want, big windows, doors for cars, wide rooms, which implies inner demolitions and commercial pressure, focusing especially on big show windows. What do we have to cope with these challenges? Legal protection, there must be strength. Only few, very few of the similar buildings are listed buildings. We also have the local protection plan enforced since 2008. This is a valuable planning tool for protection. It identifies a large number of buildings to be preserved and sets up areas of the historic center where certain architectural guidance are to be followed, like plot and height, where they meet with building expectations. But this plan also presents shortcomings, especially in relation again with modest housing. The plan makes an aesthetic approach to popular architecture. In dealing with this, conservation focus on the intangible aesthetic values of the facades, like composition, proportions, rhythm, but omits the historical fabric and the specific elements that make it up. Like modest reports, domestic and economic interior elements like kitchen, chillies, alcoves, sellers with their vats, et cetera. The majority of the houses of the wine makers' prisons can be there for demolish or substantially modified. In addition, there is a general establishment of this popular architecture. It does not identify specific historical types and offers weak compositional models. The plan also admits, or even promotes, actions that alter the original construction, like parking doors, attic floor on the top of the house, removal of all buildings at the backyard. Some proposals have already been put forward to overcome these problems, especially in the streets of street, where current level of conservation and favorable planning meet. And what do we do in practice? The day-to-day management is decided in the heritage commission of the city council. This applies for the regulations of the protection plan and, when possible, the proposal set out to improve conservation. It is difficult to measure change in detail, but some facts. The city center has lost value in the last year. Some of good buildings identified no longer exist. However, an effort has been made to maintain the maximum historic fabric and identifying elements. Agreements have been made to preserve facades and wine infrastructure that were to be demolished in the initial projects. In Sabadelle Street, some original art doorways that were hidden have been recovered. Anyway, legal protection in its own is not enough. Improver schemes should be developed to promote high quality conservation. Besides, the city council has done rehabilitation work in some of the building of its own, the cooperative winery and calcutaria. It also owns three maceas, traditional farms, with interesting wine infrastructure and a lot of historical details that are waiting for its turn. Independent of their final use, this is an opportunity to strengthen the story of the world of wine. And finally, interpretation and dissemination. This is a key issue to give meaning to this heritage. Actions to be stressed is the interpretation project for the cooperative winery. From 2013, it houses a permanent exhibition which makes a brief introduction to the world of wine and the cooperative winery and explains the wine making process through the original infrastructure. But it lacks more in the content of the context. Just now, when your project is underway, build up, which goes in this direction. The cooperative winery is one of the municipal museums and is to promote the heritage of wine. In 2021, the winery will be a central role, an excellent opportunity to give strength to this line of work. Calcutaria, this is a urban mansion of wine growers an expression of the economic boom of wine growing just at the time of the Philoxida crisis. Although it will house a tapestry museum, we will develop a second discourse centered around its domestic and winemaking elements. And finally, RP Pottery also houses a private museum and must also be considered. Just to finish, fortunately in the last years, interpretation and dissemination have been pushed forward but they have the impression that conservation has stalled and needs to be reviewed. It is enough what we protect and how it is protected. That's the question. Thank you.