加泰罗尼亚博物馆栖息地展览设计丨西班牙丨Lluís Alexandre Casanovas Blanco

“幻想风景”展览以“风景画”这一加泰罗尼亚博物馆体系中最具代表性的艺术类型为核心，通过历史艺术作品与当代艺术介入的对话，探讨该地区博物馆网络的发展脉络。展览地点位于巴塞罗那蒙锥克山上历史悠久的维多利亚·尤金尼亚宫。这座由现代主义建筑师Josep Puig i Cadafalch为1929年国际博览会设计的地标建筑，如今正被设想为毗邻的加泰罗尼亚国家艺术博物馆未来扩建的一部分。

The exhibition Fabular Paisatges explores the development of Catalonia’s museum network through a combination of historical artworks and new contemporary interventions centered on one of these institutions’ privileged genres: landscape painting. It takes place in the historic Victoria Eugènia Palace, designed by modernist architect Josep Puig i Cadafalch for the 1929 International Exposition in Montjuïc, Barcelona—an emblematic building now envisioned as part of the future expansion of the neighboring Museu Nacional d’Art de Catalunya.

▼项目概览，Overview © José Hevia

宫殿内部的宏大空间与未经处理的表面为大型装置与场域特定创作提供了理想条件，但其庞大的尺度及缺乏技术基础设施，又使其不适合展示历史艺术品。为在有限预算下实现两者的共存，展陈设计在改造场地以满足艺术观展条件的同时，通过划分独立展厅区域，为历史作品创造出具备温湿度稳定性的展示环境。换言之，这场展览几乎是在“从零开始”重建一个艺术机构运作的基本条件。

▼轴测爆炸图，Axial explosion diagram © Lluís Alexandre Casanovas Blanco

The palace’s vast spaces and untreated surfaces make it an ideal setting for large-scale installations and site-specific practices, yet that same scale and the absence of technical infrastructure render it unsuitable for displaying historical artworks. To enable this coexistence within a limited budget, the exhibition design adapts the venue to the conditions of art viewing while creating sectorized rooms that provide the environmental stability required for historical pieces. In practice, this means building the very conditions of an art institution almost from scratch.

▼展厅空间，Exhibition hall space © José Hevia

为了让观众的身体尺度与建筑的纪念性尺度相协调，设计团队借助场馆的维护工程——包括管线修复、表面打磨以及旧通信系统的拆除，并将所有建筑构件在6.5米高的范围内统一涂覆为象牙白色。

To adapt the venue’s monumental scale to the viewer’s body, ongoing maintenance works—pipe repairs, surface smoothing, and the removal of obsolete communication systems—were used to coat all architectural elements in a uniform ivory tone up to six and a half meters high.

▼近乎透明且薄如纸片的空间界面，quasi-transparent, paper-thin enclosures © José Hevia

展厅中央的基础结构采用现成的温室梁材组装而成，并包覆以每平方米17克重的白色保温织物。该结构由一系列相互连通的房间组成，重新组织了参观者在展馆网格中的流线。它通过现有柱体与数面向心式悬挑墙体相连接，形成一种近乎透明、薄如纸片的空间界面，在维持环境可控与可监测的同时，也让历史作品与当代装置在视觉上保持连贯。

A central infrastructure was assembled with off-the-shelf greenhouse beams and enclosed in white thermal blankets (17 g/m²). This sequence of interconnected rooms also organizes visitors’ circulation within the pavilion’s grid. Bridged between existing columns and a series of centripetal cantilevered walls, these quasi-transparent, paper-thin enclosures create environmentally controlled and surveilled zones while maintaining visual continuity between the historical and contemporary works.

▼历史作品与当代装置，The historical and contemporary works © José Hevia

▼展览细部设计，Detailed exhibition design © José Hevia

这种带有外露结构与多孔边界的装置体系，在展品内外之间制造出一种张力，揭示了文化机构如何通过空间与技术手段去“构建”与“保存”艺术价值的机制。

This infrastructure, with its exposed systems and porous boundaries, generates a tension between the artworks inside and those outside, revealing the mechanisms through which cultural institutions construct and preserve value.

▼装置体系细部，The infrastructure details © José Hevia

Credits

Surface: 3.172,00 m²

Budget: 142.000 euros

Curators: Manuel Borja-Villel, Lluís Alexandre Casanovas Blanco, Beatriz Martínez Hijazo

Architect: Lluís Alexandre Casanovas Blanco

Design team: Irene Domínguez, Inés González Paradela, Sofia Marciel, Sara Pérez Martín, Jaime Torres

Contractor: Central de Projectes Massens S.L.

Client: Departament de Cultura, Generalitat de Catalunya

Photos: José Hevia