Courtesy of Jean Pierre Crousse

让-皮埃尔·克劳斯(Jean Pierre Crousse)

架构师提供的文本描述。将建筑物垂直延伸是一项困难的任务，特别是当时间将原建筑与扩建工程分开时。该策略包括整合建筑的不同“生命周期”，创建一个新的单元：该项目产生于对以前的建筑师所使用的设计策略的分析，即在不模仿建筑的情况下提出与建筑物相关的扩展，以保持原版本的突出地位。

Text description provided by the architects. Extending a building vertically is a difficult task, especially when time separates the original construction from the extension. The strategy consists of integrating the different 'lifetimes' of the building creating a new unit: the project arises from the analysis of the design strategies used by previous architects to propose an extension that relates to the building without imitating it, keeping the prominence of the original version.

 © Jorge Luis Dieguez

(Jorge Luis Dieguez)

最初的建筑，一个著名的新印加建筑的例子，是建筑师埃米利奥·哈斯-泰瑞的作品，被认为是一本非常庞大的作品，两层楼高，但其表达方式让人产生了一种单一的巨大水平的错觉。1999年，建筑师皮尔·巴拉科进行了干预，他创造了第二个部分水平，并引入了一个金属结构作为未来垂直延伸的支撑点。2007年的项目延长了第三层和第四层的规模，并进行了反向规模的改造：没有像原来的建筑师那样，将规模提高到纪念性的程度，而是缩小了规模(两层有三方层)，以避免与原有外观的突出程度相竞争。

The original building, a notable example of Neo Inca architecture, is the work of architect Emilio Harth-Terré and was conceived as an eminently massive volume, two stories high but with an expression that gives the illusion of a single monumental level. In 1999 it was intervened by architect Pier Baracco, who created a second partial level and introduced a metal structure as support points for a future vertical extension. The 2007 project performs the extension of the third and fourth levels, operating a reverse scale alteration: instead of increasing it to monumentalize it, as the original architect did, the scale is decreased (with tripartite levels on two floors), so as not to compete with the prominence of the original facade.

 Courtesy of Jean Pierre Crousse

让-皮埃尔·克劳斯(Jean Pierre Crousse)

我们选择了一个轻钢结构，以满足紧张的建设时间，以配合学校的学术学期，这是不会在建设期间关闭。该扩展是支持的金属结构设计在P.巴拉科的项目，并促进了一个轻阅读的正面，以使原来的建筑看起来不被一个额外的‘视觉重量’。

We opted for a light steel structure to meet the tight construction time available to comply with the academic semesters of the school, which would not close during construction. The extension is supported on the metal structure design in P. Baracco's project, and promotes a light reading on the facade, so that the original building does not look overwhelmed by an added 'visual weight'.

 © Jorge Luis Dieguez

(Jorge Luis Dieguez)

玻璃皮有一个随机的节奏，固定的钢化玻璃在两个平面上创造了光和影的发挥，和天然铝曝气器，以确保适当的通风。曝气器的表面有不同的饰面(自然阳极氧化和黑色漆)，产生一种动态外观的感觉，这取决于它被感知的方向。

The glass skin has a random rhythm, with fixed tempered glass panes on two planes to create a play of light and shadow, and natural aluminum aerators to ensure proper ventilation. The aerators have surfaces with different finishes (natural anodized and black lacquered) generating a perception of a kinetic facade that changes its appearance depending on the direction from which it is perceived.

在内部，现有的两层楼梯都是垂直延伸的，由三层的金属人行道连接，穿过原来的庭院，以满足目前疏散、消防和地震安全的要求。这些人行道作为悬挂庭院工作，创造中间非正式学习空间之间的传统庭院和无障碍屋顶。

Inside, the two existing stairs are vertically extended and are connected by metal walkways that from the third level, cross over the original courtyard to meet the current demands of evacuation and fire and seismic safety. These walkways work as suspended courtyards, creating intermediate informal learning spaces between the traditional courtyard and the accessible roof.

 Courtesy of Jean Pierre Crousse

让-皮埃尔·克劳斯(Jean Pierre Crousse)

一座位于第三层和第四层的大型城市门廊向城市开放，与历史建筑的走廊相呼应。

A large urban porch, located on the third and fourth levels, opens toward the city and echoes the hallway of the historic building.

Architects Barclay & Crousse

Location Miraflores, Peru

Category Extension

Project Architects Sandra Barclay, Jean Pierre Crousse

Project Area 2280.0 m2

Project Year 2012

Photography Courtesy of Jean Pierre Crousse, Jorge Luis Dieguez, Courtesy of Barclay & Crousse