© Fernando Alda

(费尔南多·阿尔达)

架构师提供的文本描述。虽然该项目是在圣多明各修道院的教堂和Nuestra se ora del Rosario的小礼拜堂进行的，但这次干预的标题是“修复奥西斯剧院及其安纳克克洛斯特”，这不仅反映了恢复和保护历史建筑的意图，但为了恢复十九世纪中叶到二十世纪中叶发生的戏剧用途。

Text description provided by the architects. Although the project is done in the church of the convent of Santo Domingo and the small chapel of Nuestra Señora del Rosario, the title of the intervention, "Renovation of Oscense Theatre and  its Annexe  Cloister" reflects the intent not only to restore and preserve the historic buildings, but to recover the theatrical use that took place in it since the mid-nineteenth century to the mid-twentiet

 © Fernando Alda

(费尔南多·阿尔达)

因此，该项目面临的挑战是恢复教堂和礼拜堂，将其收回供不同的原始用途，而不一定不欣赏和重视建筑物的原始艺术和建筑要素，或使这些建筑的新用途受到不适当的影响。

Therefore, the challenge of the project was to restore a church and chapel, recovering them for a different original use, without necessarily failing to appreciate and to value the original artistic and architectural elements of the building, or having the new use of these building be unduly affected.

 © Fernando Alda

(费尔南多·阿尔达)

因此，经过适当的考古研究和对建筑保护状况的详尽认识，该项目的起草工作开始于​​重新设计一家剧院的想法，该剧院有能力举办目前的展览，保存了它所在的纪念碑的艺术价值。

Thus, after the appropriate archaeological studies and exhaustive recognition of the state of conservation of the building, drafting of the project started with the idea of ​​redesigning a theatre, that had the ability to host current representations, preserving the artistic value of the monument where it is located.

 Ground Floor Plan

在充分研究了剧院使用的需要后，确定了历史建筑没有足够的空间，必须建造新的厂房，才能为剧院的使用提供必要的空间，保证剧院的顺利运行。该项目的目的是在过去被拆除或没有建造的教堂的部分地区(西侧、中段和西边)建造新的造物区，并在这些地区建立所有向剧院提供的支助服务和设施。

After ample study of the needs required for theatrical use, it was determined that there was not enough room in the historic building, ant that the construction of new plant was necessary to provide the necessary spaces for theatre use and to guarantee its smooth operation. The project aims to build those areas of new creation on parts of the church that was demolished or not built in the past (west side nave and apse), and to place in them all the support services and facilities to the theater.

 © Fernando Alda

(费尔南多·阿尔达)

这个决定符合最初的计划和建筑物的历史。除其他外，它还允许人们欣赏现在主要剧院大厅所在的教堂的内殿，以及这座建筑最重要的建筑元素-宏伟的围堰天花板-的充分规模和壮丽。

This decision fits the original plan and the history of the building. It does allow among other things, to enjoy the nave of the church, where the main theatre hall is placed now, and the full magnitude and splendor of the magnificent coffered ceiling which is the most important arquitectural element of the building.

 Cross Section 1

交叉第1节

对圣多明各教堂和Nuestra Se ora del Rosario教堂的干预是用发现和修复的传统技术和材料进行的，以维护和评价不同风格和时代的许多装饰元素。另一方面，新的建筑领域回应了更现代的风格，与更现代的材料相融合，始终铭记着不与保护的历史建筑不一致，并力求获得统一的组装与和谐。

The intervention in the Church of Santo Domingo and the Chapel of Nuestra Señora del Rosario is done with traditional techniques and materials of construction found and repaired to maintain and value many of the decorative elements of different styles and eras. On the other hand, new construction areas that respond to a more contemporary style blend with more modern materials, always bearing in mind not to be inconsistent with the protected historic building and seeking to obtain a unitary assembly and harmony.

 © Fernando Alda

(费尔南多·阿尔达)

其结果是一座建筑物，因为它的戏剧和文化用途，不能只参观，但它是生活和享受。这次干预收复了一座处于完全废弃状态的纪念碑，成为公民经常使用的建筑，在那里他们也可以享受过去的艺术和建筑元素。

The result is a building that, because of its theatrical and cultural use, cannot only be visited, but it is lived and enjoyed. The intervention has recovered a monument that was in a state of complete abandonment, and has become a building regularly used by citizens, in where they can also enjoy the artistic and architectural elements of the past.

 West Elevation

西向立面图

Architects Julia González Pérez-Blanco, Miguel Bretones del Pozo

Location Huéscar, Granada, Spain

Category Extension

Area 1944.0 sqm

Project Year 2013