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EASTER SCULPTURE MUSEUM. HELLÍN. ALBACETE
EASTER SCULPTURE MUSEUM. HELLÍN. ALBACETE
Hellín, Spain
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Other Projects by EXIT Architects
EASTER SCULPTURE MUSEUM. HELLÍN. ALBACETE
Hellín, Spain
Firm
YEAR
2011
SIZE
100,000 sqft - 300,000 sqft
BUDGET
$1M - 5M
The Museum Project was the result of
an ideas competition organized by the Hellín Municipality. The competition
rules considered the refurbishment of the Casa del Conde as well as the
construction of an extension on the plot area former occupied by some small
service buildings of the house.
In the competition winning proposal
we included the completely refurbished Casa del Conde as a part of the Museum.
We even wanted to give it a main role, incorporating the former backyard facade
as the background of the new main exhibition space. The inner court of the
house played also a significant role as an exhibition area which established a
relationship between the old and the new parts. The upper levels hosted an
administration area and a library.
Nevertheless, at the time we
developed the Project, and after a rigorous inspection of the building we
confirmed that it was not possible to refurbish the whole house at a reasonable
cost, so we decided to concentrate all the efforts in preserving and restoring
the painted façade and those valuable elements (stone columns, ironworks,…) we
could recover for the museum.
This way, the old façade, once disappeared
the rest of the house, is no more only a construction element and becomes also
a canvas, a decorated surface to be integrated in the museum as an exhibition
object. Indeed a very special one, due to the decisive role it plays in the
relation of the building with its surroundings (the Assumption Church) and with
the city history and memory.
Despite the disappearing of the
house, we preserve the volume occupied buy it, as a mechanism to adequate to
the surroundings scale. The new building steps backwards, creating a small
square in front of the main visitors access. Therefore the museum as a whole
responds to a double urban scale, the close-scale of the street and the
far-scale of the Church square. Besides the building adapts itself to the steep
slope of the plot decreasing its height in the longitudinal section so that it
keeps always the urban scale of the surrounding houses.
Another mechanism to integrate the
building and give it a representative character is the use, for the facades, of
the same local stone as the one of the nearby Church, keeping the museum into
the chromatic spectrum f the historic centre.
In the inside, a white-concrete
space, shaped by light, surrounds a sinuous way among the sculptures, which
stand on several big wooden bases that organize the exhibition and contain the
showcases for smaller objects. Therefore it happens just the opposite as in
Easter, and in this case it is the visitor who wanders between the sculptures
as he discovers them from different points.
The great scale of the main space,
the intentional use of light and the construction with few and durable
materials give the interior a character very appropriate for the important
collection of religious sculptures to be exposed.
an ideas competition organized by the Hellín Municipality. The competition
rules considered the refurbishment of the Casa del Conde as well as the
construction of an extension on the plot area former occupied by some small
service buildings of the house.
In the competition winning proposal
we included the completely refurbished Casa del Conde as a part of the Museum.
We even wanted to give it a main role, incorporating the former backyard facade
as the background of the new main exhibition space. The inner court of the
house played also a significant role as an exhibition area which established a
relationship between the old and the new parts. The upper levels hosted an
administration area and a library.
Nevertheless, at the time we
developed the Project, and after a rigorous inspection of the building we
confirmed that it was not possible to refurbish the whole house at a reasonable
cost, so we decided to concentrate all the efforts in preserving and restoring
the painted façade and those valuable elements (stone columns, ironworks,…) we
could recover for the museum.
This way, the old façade, once disappeared
the rest of the house, is no more only a construction element and becomes also
a canvas, a decorated surface to be integrated in the museum as an exhibition
object. Indeed a very special one, due to the decisive role it plays in the
relation of the building with its surroundings (the Assumption Church) and with
the city history and memory.
Despite the disappearing of the
house, we preserve the volume occupied buy it, as a mechanism to adequate to
the surroundings scale. The new building steps backwards, creating a small
square in front of the main visitors access. Therefore the museum as a whole
responds to a double urban scale, the close-scale of the street and the
far-scale of the Church square. Besides the building adapts itself to the steep
slope of the plot decreasing its height in the longitudinal section so that it
keeps always the urban scale of the surrounding houses.
Another mechanism to integrate the
building and give it a representative character is the use, for the facades, of
the same local stone as the one of the nearby Church, keeping the museum into
the chromatic spectrum f the historic centre.
In the inside, a white-concrete
space, shaped by light, surrounds a sinuous way among the sculptures, which
stand on several big wooden bases that organize the exhibition and contain the
showcases for smaller objects. Therefore it happens just the opposite as in
Easter, and in this case it is the visitor who wanders between the sculptures
as he discovers them from different points.
The great scale of the main space,
the intentional use of light and the construction with few and durable
materials give the interior a character very appropriate for the important
collection of religious sculptures to be exposed.
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