蓬特韦德拉博物馆扩建及修复

建设单位：蓬特韦德拉市政府，加利西亚大区文化部

项目地点：西班牙加利西亚蓬特韦德拉市

设计单位：乌拉吉建筑师事务所

场地面积：6 200 平方米

新建面积：10 500 平方米

修复面积：2 500 平方米

摄影：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

基于城市视角的扩建

蓬特韦德拉博物馆不仅是对于历史建筑Sarmiento 神学院（如今它的部分区域也被改造为博物馆空间）的扩建，同时也提供了完善该街区形式并更新其空间价值的机会。

如何保留San Bartolomé 街区的历史价值是我们首要考虑的问题。首先，保留场地东侧Padre Amoedo 街道旁的林木空间是正确且必要的。在此基础上，我们将它进一步扩展到场地西侧的Arcos de San Bartolomé人行道。这片绿植中心将成为博物馆的新大门所在，同时也在街区内建立了一个新的步行交通空间，便于人们欣赏神学院的立面。它成功地建立了老城边缘地带与城区内部的联系，并通过狭窄的街道扩大了绿色景观在旧城中的覆盖范围。

其次，我们开始研究如何在这片绿地中建立新博物馆的入口。对于传统博物馆形式来说，接待大厅和展厅通常整合在同一座建筑中。但需要独立安保措施的博物馆注定无法随时都向城市公众开放。为此，我们在神学院和新博物馆建筑之间设立了一个公共大厅建筑。这里没有展品，是一个纯粹的接待和休憩空间。它面向优美的室外花园开放，汇集从各个方向来到这里的人流。

最后的难题在于如何连接外部的接待大厅和两座展览建筑中的展厅。我们将神学院和新博物馆视为两个封闭的建筑体，就像两个保存珍品的保险柜一样。到访者将通过接待大厅的楼梯往返于这两座建筑进行参观。

优化功能的组织方式

博物馆的组织必须服务于游客参观，以及对藏品的展览和维护。博物馆建筑功能组织的分散性质使它的分区可以将是否包含重要历史文化价值物品作为标准。

插入的大厅部分拥有所有的公共接待功能，而不具备展览功能。它的每一层都提供朝向花园的良好视线。沿街层包括咨询处，售票处，衣帽间，安保室，博物馆商店，等，并设有通往临展区及博物馆竖向交通核的入口。上面三层则有常展区域（新博物馆和神学院）入口，问讯处，接待处和餐厅。最底层设置会议室

我们将所有面向公众而不包含展示功能的空间集中在这个附加的建筑体量中。这些区域在使用上互补。当博物馆开业时，它们服务于两座展馆之间的交流，当博物馆闭馆时，它们可作为一个独立的文化中心。这座附加建筑中的不同楼层构成了相互独立的空间。通透的体量随时向室外公众展示其不同的功用和正在进行的活动。它们与两座博物馆建筑的相互分离，因此拥有替代性的功能和使用方式，这反过来进一步丰富了博物馆的功能和价值。

新建的博物馆建筑使街区变得更加完整。它遵循街道的形式。北立面的内折造型来自于基地下方的古城墙遗址形式。如此，一座城市的遗产记忆与文化流线得以相互融合。在内折的北立面开设有两个入口，一个供工作人员进出博物馆，另一个连接遗址，方便公众参观。

新建筑由平行排列的展览空间组成。这种形式允许展厅的 “内部立面”以固定节奏向观众提供朝向花园和接待大厅的视线。各展厅与博物馆主空间通过走廊连接，方便根据需要开启或关闭。这座建筑的功能是基于对其中艺术展品的使用而产生的。对公众开放的范围包括由花园围绕的地面层部分区域及上面的三层，内部人员使用空间则集中在半地下层和地面层的另一部分区域。

位于一层的临时展览厅是一个大空间，可根据不同的展览用途进行划分。它与接待大厅有两个出入口连接，并通过两个入口和屋顶边沿部分进行自然采光。

常展展厅位于最上面的三层。我们设计了几种不同的布局，空间和平面组织形式，展示它们应对博物馆不同展示需求的灵活性。展厅部分与接待大厅建筑体连接成为环形的主流线，搭配其它的次级流线。每层流线的起始位置均汇聚在组织竖向交通的接待大厅建筑中。展厅通过顶部反射进行自然采光。进入每层展厅的通道都可以俯瞰花园景观，最高的两层同时也面向河景开放。

地面层平面 Ground Plan

二层平面 Second plan

工作车辆从位于Padre Amoedo 街道的入口通过坡道进入半地下室。这里有用于装卸货，登记，拆箱，运输，驱虫和装配的专门区域，它们通过与此层平齐的庭院自然采光。该层被分为多个部分，作为仓库和保险库，配备独立的安保措施和防火分区。修复室和档案区位于地面一层。

博物馆设有专门的叉车运输交通核，便于展品在仓库，修复区，展览空间等各个空间中流通。在新博物馆建筑中，竖向交通仅由两个疏散楼梯承担，以满足消防需求。停车场设在接待大厅下方。

我们希望通过这种组织方式在两座新建筑不同的功能和保护等级分区之间建立清晰的识别性。

体现特征的建造方式

博物馆的扩建和新建工程必须与San Bartolomé 城区建立良好的关系。这座博物馆各个部分的建造形式必须与其所承载的作用和意义相符合。新博物馆建筑填补了街区的空缺，它的形式如同一个石柜，拥有有限的开口。这种形式的尺度和特征都与神学院直接相关。公共接待厅则需要与供市民休憩的花园性质相近，因此它是透明的，且长期开放，并受到植物和两边建筑的保护；其内部进行的活动如同一场又一场演出，时刻在向外部展示。

新博物馆大楼的外部石材围墙带有齐平的安全玻璃条，允许自然光线进入。博物馆内墙截面与外墙一致，安装方法相同。建筑的屋顶可以朝北侧开启，提高各展厅的空调使用效率。展厅内部使用石材铺地和白色墙板，素雅简单室内空间效果有利于衬托覆盖在墙面上的展品。

接待厅使用与室外林地相同的石材铺地。除阳光直射的区域外，均使用无色玻璃。其结由金属管材和铝质细木工制成。

蓬特韦德拉博物馆在完善街区价值的同时，强调了建筑本身的公共属性。它具有紧凑的外观和开放的内部空间，相互穿插的建筑拥有清晰的功能区分。这组建筑群适应了原有的城市结构，同时展示出自己在城市中独具特色的意义。

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.

实体模型 Entity model

实体模型 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 façade 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 façade 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.