西班牙Alicante现代美术馆,S·M·A·O·

建筑为现代美术馆，收藏了二十世纪五十年代到七十年代间发表的艺术作品，西班牙艺术家Eduardo Sempere捐赠给城市的收藏品也在其中。与现代的艺术氛围相对，建筑基地位于Alicante的历史中心，周围有城堡、海、小Santa María广场和教堂，无一不对建筑的地形、语言、语境以及朝向产生影响。建筑设计需要同时考虑现代艺术与历史语境这两个相对独立的因素。

This project emerges from two individual, singular points which propose a very well defined field of work from the outset:

– On the one hand, this is a building for a previously established art collection from the 1950s-1970s, including the collection donated to the city by Spanish artist Eduardo Sempere. This collection consists of works by modern artists: Calder, Vasarely, Chillida, Julio González and Sempere himself.

– On the other hand, the location I the historic centre of Alicante, its slope parameters (10m), its language, its context and its orientation, all produce a unique atmosphere in the shadow of the Castle, the sea horizon and the proximity of the little Santa María Square and Church.

▼现代建筑位于历史城市之中，modern building in the historic center

感性的艺术和历史的语境成为了设计的出发点，如何处理与两者的关系是关键，这让建筑师决定从功能，空间和感知的角度制定解决方案，完成整个项目。建筑的立面采用石材，这一材料语言和相邻的教堂以及历史街区相通，同时可以让新建筑与老Asegurada博物馆成为一个整体，把老建筑的附加用房改造为展览空间。

These two starting points – the relationship with a realm of artistic and perceptive references, and the relationship with the context of Alicante’s historic centre – suggest a way of understanding and developing the project in its programmatic, spatial and perceptive solution. The use of the stone, with its closely wall- related language, connects with the convent language of the adjacent church and the city’s old quarter, while at the same time integrating Alicante’s old “Asegurada Museum” building into a single volume, renovating and including the annexed spaces into the exhibition areas.

▼建筑总体平面和纵切面，与教堂相邻，site plan and section showing that the museum is adjacent to the church

▼从教堂看美术馆，view of the museum from the church

▼剖面图，老博物馆与新建筑连在一起，section showing that the old museum is connected with the new building

基地上的坡被挖平，石头体块放置于其中，其顶部以玻璃围合，让整体不那么沉重。双层玻璃表皮呈现出波纹状反光，使用了二十世纪五六十年代活动艺术的语言。

The stone volume, which absorbs the perimeter slope, is completed with a volumetrically defined vitreous piece, broken perceptively by a double transparent skin that cracks the volume with moiré reflections and games in a language that revives the 1950’s and 60’s kinetic art.

▼屋顶庭院的玻璃体块，表面有波纹型的反光，the glass volume on the top with moiré reflections

展览区域分为三层，均有北面的连续漫射采光。第一层为一个连续的展览空间，垂直方向上形成富有节奏感的凹进突出；第二层为单独的展室，由一层通高的部分进行分隔；通高部分的突起与二层展室的屋顶形成了黑，白，金三个庭院，由第三层的水平展区联系在一起，三者与二十世纪六十年代活动艺术中的视错觉相关，通过调整尺度设置于室外，给人带了了不一样的感官体验。

The interior exhibition space is bounded by continuous, diaphanous northern light, value-adding to three spatial /exhibition situations:

– The first horizontal level, in continuity with a rhythm of vertical compressions and dilations

– The second level with its transversal rooms, which relate to the vertical dilations

– Finally the top floor with its horizontal space, juxtaposed with syncopated vertical and horizontal spaces. This room stitches together the three courtyards – black, white and gold – with three perceptive situations related to the optical illusions used by the 1960’s kinetic artists brought here into the outdoor space with changes of scale and references to the place.

▼分析图，黄色部分表示体块之间的分隔，diagram, yellow shows the divisions

▼平面图，plans