架构师提供的文本描述。考古博物馆必须在文物保护和向公众开放之间找到微妙的平衡。作为帕拉卡斯人的遗址博物馆面临着另一项挑战，即必须融入这一文化的摇篮-这是秘鲁沿海沙漠最重要的生物和景观保护区的一部分-的景观。

Text description provided by the architects. An archaeological museum must find the delicate balance between heritage conservation exposed and release to the public. A site museum, as the Paracas, acquires the additional challenge of having to integrate into the landscape that was the cradle of this culture, which is now part of the most important biological and landscaping reserve of the Peruvian coastal desert. 

 © Erieta Attali

埃丽塔·阿塔利

该项目实际上是在其前身的废墟上实施的，2006年的一次地震摧毁了它。它重新恢复了它的矩形几何图形和紧致性。本卷有裂缝或缺陷，将博物馆作为专门保护考古遗产的工场、会议室和服务的披露职能分开。进入博物馆不同的空间是由这样的“裂缝”：开放的空间，框架部分景观，创造必要的隐私，以生活在广阔的沙漠。

The project is implemented practically on the ruins of what was its predecessor, destroyed by an earthquake in 2006. It retakes its rectangular geometry and compactness. A crack or flaw breaks in this volume, separating the functions of disclosure of the museum as workshops, meeting rooms and services dedicated to the conservation of archaeological heritage. The access to the different spaces of the museum is done by this "crack": open spaces that frame portions of the landscape and create the necessary privacy to live in the vast desert.

在博物馆里，探索着古代秘鲁人所使用的迷宫空间和螺旋路径与当代空间性、平滑和透明之间的一种看似矛盾的融合。

Inside the museum, is explored a seemingly contradictory hybridization between the labyrinthine spatiality and spiral path used by the ancient Peruvians and contemporary spatiality, smooth and transparent.

 Courtesy of Barclay & Crousse

巴克利

 Courtesy of Barclay & Crousse

巴克利

 Ground Floor

 Courtesy of Barclay & Crousse

巴克利

帕拉卡斯沙漠的环境要求和博物馆藏品的要求是通过一个“装置环境修正”来解决的，它定义了建筑和博物馆的聚会。该装置包括一个灯柱运行，下面是展厅或流通空间之间的过渡空间，根据需要和他在项目中的位置。该装置允许控制自然光、人工光、自然通风和不同环境的冷却。它的几何学重新诠释了帕拉卡斯纺织品的意境和缝隙特征，这是他最杰出的技术和艺术表现。

Environmental requirements of the Paracas Desert and the museologicals collection requirements are solved with a "device environmental correction", that defines the architectural and museum party. The device consists of a lamppost run, under which are the transition spaces between exhibition halls or circulation spaces, according to the needs and his position in the project. This device allows to control natural light, artificial light, natural ventilation and cooling of the different environments. Its geometry reinterprets the serie and the gap characteristic of the Paracas textiles, which were his most outstanding technological and artistic expressions.

这座建筑完全是用耐盐沙漠的火山灰水泥建造的。裸露的混凝土和水泥研磨构成了它的物质性，获得了一种与邻近山丘混合的天然的红色色彩。

The building is constructed entirely with pozzolan cement, resistant to salt desert. The exposed concrete and cement grinding that constitute its materiality, acquire a natural reddish color that blends with the neighboring hills.

 Courtesy of Barclay & Crousse

巴克利

建筑工人在博物馆周围的抛光混凝土中留下的帕蒂纳，给博物馆提供了一种类似于前哥伦布时期的陶瓷(Huacos)的形象。

The patina left by builders in the polished concrete that surrounds the museal rooms give to the museum a ceramic look that resembles the pre-Columbian ceramics (huacos) that are exposed inside.

 Courtesy of Barclay & Crousse

巴克利