建設(shè)單位：蓬特韋德拉市政府，加利西亞大區(qū)文化部

項(xiàng)目地點(diǎn)：西班牙加利西亞蓬特韋德拉市

設(shè)計(jì)單位：烏拉吉建筑師事務(wù)所

場(chǎng)地面積：6 200 平方米

新建面積：10 500 平方米

修復(fù)面積：2 500 平方米

攝影：Duccio Malagamba

Client:Deputation of Pontevedra,Galicia Cultural department

Location:Pontevedra,Galicia,Spain

Architect:Ulargui Arquitectos

Site Area:6,200 m2

Building Area:10,500 m2

Restoration area:2,500 m2

Photography:Duccio Malagamba

基于城市視角的擴(kuò)建

蓬特韋德拉博物館不僅是對(duì)于歷史建筑Sarmiento 神學(xué)院（如今它的部分區(qū)域也被改造為博物館空間）的擴(kuò)建，同時(shí)也提供了完善該街區(qū)形式并更新其空間價(jià)值的機(jī)會(huì)。

如何保留San Bartolomé 街區(qū)的歷史價(jià)值是我們首要考慮的問(wèn)題。首先，保留場(chǎng)地東側(cè)Padre Amoedo 街道旁的林木空間是正確且必要的。在此基礎(chǔ)上，我們將它進(jìn)一步擴(kuò)展到場(chǎng)地西側(cè)的Arcos de San Bartolomé人行道。這片綠植中心將成為博物館的新大門(mén)所在，同時(shí)也在街區(qū)內(nèi)建立了一個(gè)新的步行交通空間，便于人們欣賞神學(xué)院的立面。它成功地建立了老城邊緣地帶與城區(qū)內(nèi)部的聯(lián)系，并通過(guò)狹窄的街道擴(kuò)大了綠色景觀在舊城中的覆蓋范圍。

其次，我們開(kāi)始研究如何在這片綠地中建立新博物館的入口。對(duì)于傳統(tǒng)博物館形式來(lái)說(shuō)，接待大廳和展廳通常整合在同一座建筑中。但需要獨(dú)立安保措施的博物館注定無(wú)法隨時(shí)都向城市公眾開(kāi)放。為此，我們?cè)谏駥W(xué)院和新博物館建筑之間設(shè)立了一個(gè)公共大廳建筑。這里沒(méi)有展品，是一個(gè)純粹的接待和休憩空間。它面向優(yōu)美的室外花園開(kāi)放，匯集從各個(gè)方向來(lái)到這里的人流。

最后的難題在于如何連接外部的接待大廳和兩座展覽建筑中的展廳。我們將神學(xué)院和新博物館視為兩個(gè)封閉的建筑體，就像兩個(gè)保存珍品的保險(xiǎn)柜一樣。到訪者將通過(guò)接待大廳的樓梯往返于這兩座建筑進(jìn)行參觀。

優(yōu)化功能的組織方式

博物館的組織必須服務(wù)于游客參觀，以及對(duì)藏品的展覽和維護(hù)。博物館建筑功能組織的分散性質(zhì)使它的分區(qū)可以將是否包含重要?dú)v史文化價(jià)值物品作為標(biāo)準(zhǔn)。

插入的大廳部分擁有所有的公共接待功能，而不具備展覽功能。它的每一層都提供朝向花園的良好視線。沿街層包括咨詢處，售票處，衣帽間，安保室，博物館商店，等，并設(shè)有通往臨展區(qū)及博物館豎向交通核的入口。上面三層則有常展區(qū)域（新博物館和神學(xué)院）入口，問(wèn)訊處，接待處和餐廳。最底層設(shè)置會(huì)議室

我們將所有面向公眾而不包含展示功能的空間集中在這個(gè)附加的建筑體量中。這些區(qū)域在使用上互補(bǔ)。當(dāng)博物館開(kāi)業(yè)時(shí)，它們服務(wù)于兩座展館之間的交流，當(dāng)博物館閉館時(shí)，它們可作為一個(gè)獨(dú)立的文化中心。這座附加建筑中的不同樓層構(gòu)成了相互獨(dú)立的空間。通透的體量隨時(shí)向室外公眾展示其不同的功用和正在進(jìn)行的活動(dòng)。它們與兩座博物館建筑的相互分離，因此擁有替代性的功能和使用方式，這反過(guò)來(lái)進(jìn)一步豐富了博物館的功能和價(jià)值。

新建的博物館建筑使街區(qū)變得更加完整。它遵循街道的形式。北立面的內(nèi)折造型來(lái)自于基地下方的古城墻遺址形式。如此，一座城市的遺產(chǎn)記憶與文化流線得以相互融合。在內(nèi)折的北立面開(kāi)設(shè)有兩個(gè)入口，一個(gè)供工作人員進(jìn)出博物館，另一個(gè)連接遺址，方便公眾參觀。

新建筑由平行排列的展覽空間組成。這種形式允許展廳的 “內(nèi)部立面”以固定節(jié)奏向觀眾提供朝向花園和接待大廳的視線。各展廳與博物館主空間通過(guò)走廊連接，方便根據(jù)需要開(kāi)啟或關(guān)閉。這座建筑的功能是基于對(duì)其中藝術(shù)展品的使用而產(chǎn)生的。對(duì)公眾開(kāi)放的范圍包括由花園圍繞的地面層部分區(qū)域及上面的三層，內(nèi)部人員使用空間則集中在半地下層和地面層的另一部分區(qū)域。

位于一層的臨時(shí)展覽廳是一個(gè)大空間，可根據(jù)不同的展覽用途進(jìn)行劃分。它與接待大廳有兩個(gè)出入口連接，并通過(guò)兩個(gè)入口和屋頂邊沿部分進(jìn)行自然采光。

常展展廳位于最上面的三層。我們?cè)O(shè)計(jì)了幾種不同的布局，空間和平面組織形式，展示它們應(yīng)對(duì)博物館不同展示需求的靈活性。展廳部分與接待大廳建筑體連接成為環(huán)形的主流線，搭配其它的次級(jí)流線。每層流線的起始位置均匯聚在組織豎向交通的接待大廳建筑中。展廳通過(guò)頂部反射進(jìn)行自然采光。進(jìn)入每層展廳的通道都可以俯瞰花園景觀，最高的兩層同時(shí)也面向河景開(kāi)放。

地面層平面 Ground Plan

二層平面 Second plan

工作車輛從位于Padre Amoedo 街道的入口通過(guò)坡道進(jìn)入半地下室。這里有用于裝卸貨，登記，拆箱，運(yùn)輸，驅(qū)蟲(chóng)和裝配的專門(mén)區(qū)域，它們通過(guò)與此層平齊的庭院自然采光。該層被分為多個(gè)部分，作為倉(cāng)庫(kù)和保險(xiǎn)庫(kù)，配備獨(dú)立的安保措施和防火分區(qū)。修復(fù)室和檔案區(qū)位于地面一層。

博物館設(shè)有專門(mén)的叉車運(yùn)輸交通核，便于展品在倉(cāng)庫(kù)，修復(fù)區(qū)，展覽空間等各個(gè)空間中流通。在新博物館建筑中，豎向交通僅由兩個(gè)疏散樓梯承擔(dān)，以滿足消防需求。停車場(chǎng)設(shè)在接待大廳下方。

我們希望通過(guò)這種組織方式在兩座新建筑不同的功能和保護(hù)等級(jí)分區(qū)之間建立清晰的識(shí)別性。

體現(xiàn)特征的建造方式

博物館的擴(kuò)建和新建工程必須與San Bartolomé 城區(qū)建立良好的關(guān)系。這座博物館各個(gè)部分的建造形式必須與其所承載的作用和意義相符合。新博物館建筑填補(bǔ)了街區(qū)的空缺，它的形式如同一個(gè)石柜，擁有有限的開(kāi)口。這種形式的尺度和特征都與神學(xué)院直接相關(guān)。公共接待廳則需要與供市民休憩的花園性質(zhì)相近，因此它是透明的，且長(zhǎng)期開(kāi)放，并受到植物和兩邊建筑的保護(hù)；其內(nèi)部進(jìn)行的活動(dòng)如同一場(chǎng)又一場(chǎng)演出，時(shí)刻在向外部展示。

新博物館大樓的外部石材圍墻帶有齊平的安全玻璃條，允許自然光線進(jìn)入。博物館內(nèi)墻截面與外墻一致，安裝方法相同。建筑的屋頂可以朝北側(cè)開(kāi)啟，提高各展廳的空調(diào)使用效率。展廳內(nèi)部使用石材鋪地和白色墻板，素雅簡(jiǎn)單室內(nèi)空間效果有利于襯托覆蓋在墻面上的展品。

接待廳使用與室外林地相同的石材鋪地。除陽(yáng)光直射的區(qū)域外，均使用無(wú)色玻璃。其結(jié)由金屬管材和鋁質(zhì)細(xì)木工制成。

蓬特韋德拉博物館在完善街區(qū)價(jià)值的同時(shí)，強(qiáng)調(diào)了建筑本身的公共屬性。它具有緊湊的外觀和開(kāi)放的內(nèi)部空間，相互穿插的建筑擁有清晰的功能區(qū)分。這組建筑群適應(yīng)了原有的城市結(jié)構(gòu)，同時(shí)展示出自己在城市中獨(dú)具特色的意義。

An extension with urabn vocation

We understand that the proposal should not be a simple extension of the Sarmiento building,it should be an opportunity to complete and enhance the block where it is located.

How to value the San Bartolomé historic block? The conservation of the wooded area located next to Padre Amoedo street seems successful,so we propose its extension to the pedestrianized Arcos de San Bartolomé street.This green center of the block becomes the new door of the museum;a new access space that frees the facades of the Sarmiento building from attached buildings and establishes a pedestrian communication through the interior of the block.Connect from this limit of the historic center to its interior,through narrow streets that expand with landscaped areas in the dense fabric of the historic center.

How to make a new door to the museum within a green area? Traditionally,the lobbies and the exhibition halls of a museum are part of the same building,so it is difficult to combine the opening of a secure building towards an outdoor green area that participates in an urban route.We propose a common lobby to the Sarmiento building and to the new Exhibition Rooms,a reception area open to the exterior landscaped space that contains the entire public area without cultural assets.

How to relate the exhibition halls to an exterior lobby? We consider the Sarmiento building and the new exhibition hall building as closed buildings,as chests containing goods worthy of being preserved,which are shown to the public through the steps that connect with the reception area.

Organization as functional optimization

We understand that the organization of the museum must be at the service of visitors and the safety of cultural property.

The fragmentation of the museum building allows the program to be divided into two clearly differentiated areas:with and without cultural assets.

實(shí)體模型 Entity model

實(shí)體模型 Entity model

The building-door inserted in the access garden contains all the uses of the public area without cultural assets.A pavilion visually open to the garden from all its floors.The access floor to street level contains the information desk,lockers,security,...,the museum shop,the accesses to the temporary room and the public core of vertical communications of the museum.On the three upper floors are the entrances to the permanent exhibition rooms (of the Sarmiento building and the new rooms),the reception and information areas for the public and the cafeteria.On the ground floor we located the conference room.

We concentrate all areas intended for the public,which do not contain cultural assets.Its use is complementary,of communication and dissemination of the museum's contents when the rooms are open,or of a cultural diffusion center when said rooms are closed to the public.The transparent volume informs the public about the contents of each area of the museum.The physical separation between this building and the rooms allows this alternative use that generates an added value to the museum.

The building that contains the cultural assets completes the block,following the urban layout of the streets to the outside and folding on its north fa?ade to the layout of the existing wall.With this layout,the remains of the old wall are incorporated into the cultural circuit of the city's heritage.In the fold of this north fa?ade there is pedestrian access to the area for internal use and public access to access the level of the walls.

The building is organized in parallel bays with patios that allow punctual opening through its interior facade to the garden and the lobby building.Its connections through footbridges allow the opening and closing of the cultural property building to the visiting public.This building is organized according to the use of the cultural assets it contains.The public area is located on the landscaped ground floor and the three upper floors.The area for internal use is located on the semi-basement and ground floor.

The temporary exhibition hall is projected as a large nave,with possible divisions depending on the exhibition use.It is located on the ground floor with two entrances from the lobby building.It allows natural lighting on its perimeter and overhead on its two access points.

The permanent exhibition halls are located on the top three floors;Several possibilities of rooms of different disposition,shape and surface are proposed,as a sample of the possible adaptation of the same to the museum project.The connections with the lobby building produce a ring circulation through the rooms,with the possibility of alternative secondary routes;the beginning and end of the route of each floor is complemented in the different reception and dissemination areas of the lobby building.The natural lighting of the rooms is produced with light reflected in the upper part of the perimeters;on the last two floors there are openings for views towards the river and on all floors views of the garden through the access steps.

The area of internal use with cultural assets has its access road from Padre Amoedo street through a ramp to the semi-basement.The unloading,registration,unpacking,transit,disinsection and assembly rooms are located on this floor,with ventilation and natural light through one of the interior patios that descends to this level;This plant is divided into several reserve rooms and a vault,with its own security and fire protection sectorization.The conservation and documentation area is located on the ground floor.

The connection of cultural assets between the internal area and the temporary and permanent rooms is produced through a forklift that connects all the floors and areas of the building,with an internal core.The only vertical communications for public use in the cultural property building are two cores of evacuation stairs to comply with the fire protection routes.The car park is located in the basement,under the reception pavilion.

With this organization of the new museum buildings a clear identification is achieved between the architectural and functional division,between areas of different use and their levels of protection.

Construction as adequacy to character

We understand that the way to build the museum extension must be related to the whole of the San Bartolomé block.

The nature of the buildings that make up the museum is decisive for its constructive formalization.The building that completes the block and contains the cultural assets must have the character of a stone chest with controlled openings,directly related–in character and scale-to the Sarmiento building.The public reception pavilion must belong to the character of the access garden,an open and transparent building,protected by the vegetation and the buildings it serves;its activity must be transmitted abroad as the area of diffusion that it is.

The cultural property building has exterior stone walls with flush safety glass strips to capture natural light in the upper part of the rooms.Its interior walls take sections equal to the exterior ones as they contain installation steps.Its roof rises on its north face to contain all the hot and cold production rooms.Its interiors are made of stone pavements and vertical walls of neutral panels that do not compete with the goods that are cut out on them.

The host pavilion is built with the same stone pavements as the wooded area;its exterior enclosures are made of colorless glass,except for the areas where the sun hits directly.Its structure is made of exposed metal tubes and aluminum frames.

We understand our proposal as a complete block with a public nature,with a compact exterior and an open interior,a set with a clear vocation to adapt to the urban fabric and to stand out as a singular element in the city.