阿根廷,科尔多瓦,埃米利奥·加拉法美术馆 / GGMPU Arquitectos + Lucio Morini

建筑师: Lucio Morini + GGMPU Arquitectos

地点:阿根廷科尔多瓦

设计组:GGMPU Arquitectos – Gramática/Morini/Pisani/Urtubey + Lucio Morini

项目面积:4,400 sqm

项目年份:2008

摄影:Courtesy of GGMPU Arquitectos

合作方:Daniel Icikson, Nicolás Margherit

客户:Agencia Córdoba Cultura / Gobierno de la Provincia de Córdoba

A区项目:Refuncionalización y ampliación Museo Emilio Caraffa (I)

项目:MZARCH – Mendoza/Mendoza/Margherit Arquitectos Asociados

技术管理:MZARCH – Mendoza/Mendoza/Margherit Arquitectos Asociados

现场管理:Adrián Castagno

咨询:Fragueiro & Novillo Ings., Ing. A. Bastet, Ingeniar S.A., Tecnoseguridad S.R.L., Ing. H. Mangupli, Maestre Iluminación, Radyk & Aguirregomezcorta.

场地面积:2100 m2

B区项目:Museo Emilio Caraffa (Ampliación II) – Ex I.P.E.F.

以下文字来自建筑师。改造后的埃米利奥·加拉法美术馆在以前的体育教育学院大楼旁边增建了一栋附楼,如今属于一个大规模综合建筑群,该建筑群还包括新建的Palacio Ferreyra博物馆。新加拉法美术馆一方面拥有主要用于临时展览的各种展厅,另一方面还拥有整个综合建筑所必需的技术支持设施,譬如编目、分类、研究、修复部门,从博物馆和图书馆接受资金的仓库,管理、规划、设计部门和展览的组织部门等。

该项目目前名为加拉法美术馆,当年被委托给了匈牙利建筑师Johannes Kronfuss进行设计,他在1915年做出结论,确定本项目按照新古典主义风格来设计,应该在一期工程中建造美术馆,在后期工程中建造本省的应用艺术学院。1916年,本项目只建成了四分之一。1962年,美术馆经过扩建,成为常规的棱柱形式,内部设计有夹层,占据了Kronfuss原本设想为中央庭院的空间。而在1938年,IPEF大厦由建筑师Bottaro设计建造完成。2006年,决定对其进行扩建,并改造加拉法美术馆,特委托GGMPU建筑师事务所负责美术馆项目,并设计一栋连接大楼(A区项目)与建成的IPEF大楼相连,后者的设计则委托给了MZARCH建筑师事务所(B区项目)。

指导综合建筑设计的主要概念就是,新一代美术馆能够对当代艺术的方方面面进行分组和连接。我们保留了原有建筑的现成表面,使新建筑体量与过去的建筑外观具有和谐一致的感觉。建筑物的内部布局以水平和垂直的连接构件布置而成,这些构件衔接了不同的区域与展厅,游客可在这些空间内自由探索,确定自己的行程,或是循着预先设定的游览路线前进。

在GGMPU与Lucio Morini负责设计的A区项目中,原有的建筑呈现出诸多难题:不便于访问、内部空间划分过于分裂,将空间分成了半层,难于通过,另外展厅的层高也让人感觉不舒服,增加了地面建筑的支离破碎之感。干预设计的概念是在空间中设计一个建筑连接构件,连接起所有的原有部位,从而保持它们独特的个性与原始特征,同时还能表达强烈的整体感。这个建筑连接构件以金属结构制成,四周安装了拥有各种透明度与不透明性的玻璃表面。

美术馆的规模从1200平方米到4400平方米不等,因此需要改变其重心。这就改变了主要入口的位置,如今从人行道水平面上的一个广场进入,解决了残障人士和老年人无法从原有入口进入的难题。就在同一层楼还有自助餐厅和艺术图书馆,都可从广场直接进入。二楼的藏书区和服务设备区被改造成了一个新的展览空间。

在三楼,建于1962年的位于半层位置的室内楼板被拆掉了,取而代之的是一块统一空间的新楼板,赋予空间更大的高度,与1916年老楼保留至今的房间一个高度,如今与在入口广场上方架起的一个悬挑门厅连续贯通。两种举措都强调了原有项目展现的高贵环境。这个新门厅还有另外一个学生通道。

再往上一层是连桥的入口,连接着相邻的建筑物(IPEF原先设计的),与这里的展厅形成了一个连续的循环。

本项目利用现有的条件建立了大量的展厅,其形状、大小、高度和照明均促进了多种多样的艺术形式的发展。


Architects: Lucio Morini + GGMPU Arquitectos

Location: Córdoba, Córdoba Province, Argentina

Design Team: GGMPU Arquitectos – Gramática/Morini/Pisani/Urtubey + Lucio Morini

Project Area: 4,400 sqm

Project Year: 2008

Photographs: Courtesy of GGMPU Arquitectos

Collaborators: Daniel Icikson, Nicolás Margherit

Client: Agencia Córdoba Cultura / Gobierno de la Provincia de Córdoba

Sector A: Refuncionalización y ampliación Museo Emilio Caraffa (I)

Project: MZARCH – Mendoza/Mendoza/Margherit Arquitectos Asociados

Technical Management: MZARCH – Mendoza/Mendoza/Margherit Arquitectos Asociados

Site Management: Adrián Castagno

Consultants: Fragueiro & Novillo Ings., Ing. A. Bastet, Ingeniar S.A., Tecnoseguridad S.R.L., Ing. H. Mangupli, Maestre Iluminación, Radyk & Aguirregomezcorta.

Surface Area: 2100 m2

Sector B: Museo Emilio Caraffa (Ampliación II) - Ex I.P.E.F.

From the architect. The remodeled Emilio Caraffa Museum, which adds the annexation of the building of the former Institute of Physical Education, is part of a larger complex that includes the new Palacio Ferreyra Museum. The new Caraffa Museum has, on one hand, a variety of showrooms mainly for temporary exhibitions and, on the other hand, the necessary premises for the technical support of the entire complex such as cataloging, classification, research, restoration, warehouses for receipt of funds from both museums, library, administration, programming, design and assembly of exhibitions, etc..

The project for what is now called Caraffa Museum was commissioned to Hungarian architect Johannes Kronfuss, who in 1915 concluded the project based on a neoclassical approach that should, in a first stage, house the Museum and in another later stage, house the Applied Arts School of the Province. Only a quarter of this project was built in 1916. In 1962 the museum was expanded as a regular prism designed internally with mezzanines that occupied the space that Kronfuss had imagined as the central courtyard of the museum. In turn, in 1938 the IPEF building was constructed, designed by architect Bottaro. In 2006 it was decided to expand and remodel the Caraffa, entrusting GGMPU with the museum project itself and a new connector building (Sector A) that would link it to the built IPEF, whose design was commissioned to architects MZARCH (Sector B).

The main concept that guided the design of the complex was the generation of a new art museum, capable of grouping and linking the many facets of contemporary art. We preserved the existing surfaces of the original buildings so that the new bodies relate to the bodies of the past in a continuous sequence. The internal layout of the buildings is through horizontal and vertical connectors that link different areas and exhibition rooms where visitors are free to explore the spaces, generate their own itineraries or move through preset tours.

In Sector A, designed by GGMPU and Lucio Morini, the existing building presented some complexities manifested in problems of accessibility, fragmentation of interior spaces into planes at half levels difficult to cross, and unsuitable heights for exhibition spaces, which added to the dispersion of the buildings on the ground. The idea of the intervention was to design a building-connector that would develop in space, joining all existing parts, allowing them to maintain their own individuality and original character and at the same time express a strong unit whole. This building-connector materialized by using a metal structure manifested outwardly through a glass surface of diverse transparencies and opacities.

The scaling of the museum, which went from 1200m ² to 4400m ², proposed a change in its center of gravity. This led to the modification of the main entrance now through a square at the sidewalk level, solving the problem of accessibility to disabled and elderly persons present in the original access. On this same level is the cafeteria and art library, both with direct access from the square. On the second level, the storage areas and services of the original building were transformed into a new exhibition room.

On the third level, interior slabs at half levels from the 1962 expansion were demolished and replaced by a new slab unifying the space, giving it greater height and leveling it with rooms restored from the 1916 building which now have continuity with a foyer in cantilever that is developed over the entrance plaza. Both reaffirm the piano nobile condition presented by the original project. This new foyer has another access for students who arrive in their transport.

On the next level up is the access to a room-bridge that connects to the adjacent building (ex IPEF) forming a continuous loop with the group of exhibitions rooms located there.

Taking advantage of existing conditions, the project has established a multitude of halls whose shapes, sizes, heights and lighting allow the development of a wide variety of art forms.