© Gonzalo Viramonte

c Gonzalo Viramonte

经过改建的埃米利奥·卡拉法博物馆(Emilio Caraffa Museum)是包括新的帕拉西奥·费雷拉博物馆(Palacio Ferreyra Museum)在内的大型建筑群的一部分。新的卡拉法博物馆一方面有各种展厅，主要用于临时展览；另一方面，为整个建筑群的技术支助提供必要的房舍，如编目、分类、研究、修复、从两个博物馆收取资金的仓库、图书馆、行政、规划、设计和展览组装等。

The remodeled Emilio Caraffa Museum, which adds the annexation of the building of the former Institute of Physical Education, is part of a larger complex that includes the new Palacio Ferreyra Museum. The new Caraffa Museum has, on one hand, a variety of showrooms mainly for temporary exhibitions and, on the other hand, the necessary premises for the technical support of the entire complex such as cataloging, classification, research, restoration, warehouses for receipt of funds from both museums, library, administration, programming, design and assembly of exhibitions, etc..

现称为Caraffa博物馆的项目委托给匈牙利建筑师Johannes Kronfuss，1915年，他根据新古典主义的方法完成了这一项目，在第一阶段，博物馆应该是博物馆的所在地，而在另一阶段，则是该省的应用艺术学院。这个项目只有四分之一建于1916年。1962年，博物馆被扩大为一个普通的棱镜，内部设计了梅扎尼，占据了克伦弗斯想象的博物馆中央庭院的空间。1938年，IPEF大楼被建造，由建筑师Bottaro设计。2006年，决定扩大和改造Caraffa，委托GGMPU负责博物馆项目本身和一座新的连接器大楼(A区)，将其与已建成的IPEF连接起来，后者的设计委托给建筑师MZARCH(B区)。

The project for what is now called Caraffa Museum was commissioned to Hungarian architect Johannes Kronfuss, who in 1915 concluded the project based on a neoclassical approach that should, in a first stage, house the Museum and in another later stage, house the Applied Arts School of the Province. Only a quarter of this project was built in 1916. In 1962 the museum was expanded as a regular prism designed internally with mezzanines that occupied the space that Kronfuss had imagined as the central courtyard of the museum. In turn, in 1938 the IPEF building was constructed, designed by architect Bottaro. In 2006 it was decided to expand and remodel the Caraffa, entrusting GGMPU with the museum project itself and a new connector building (Sector A) that would link it to the built IPEF, whose design was commissioned to architects MZARCH (Sector B).

 © Gonzalo Viramonte

c Gonzalo Viramonte

指导建筑群设计的主要概念是创造一个新的艺术博物馆，能够将当代艺术的许多方面进行组合和联系。我们保存了原有建筑物的现有表面，使新的尸体与过去的尸体连续地联系在一起。建筑物的内部布局是通过连接不同区域和展览室的横向和纵向连接，在这些地方，参观者可以自由探索空间，产生自己的行程或通过预先设定的游览。

The main concept that guided the design of the complex was the generation of a new art museum, capable of grouping and linking the many facets of contemporary art. We preserved the existing surfaces of the original buildings so that the new bodies relate to the bodies of the past in a continuous sequence. The internal layout of the buildings is through horizontal and vertical connectors that link different areas and exhibition rooms where visitors are free to explore the spaces, generate their own itineraries or move through preset tours.

 © Gonzalo Viramonte

c Gonzalo Viramonte

在由GGMPU和卢西奥·莫里尼设计的A区，现有的建筑呈现出一些复杂的情况，表现在无障碍、内部空间分割成难以跨越的半层平面、展览空间高度不合适等问题，这增加了地面建筑的分散性。干预的目的是设计一个在空间中发展的建筑连接器，将所有现存的部分连接起来，使它们能够保持自己的个性和原始特征，同时表达一个强大的整体。这种建筑连接器是通过使用一种金属结构来实现的，这种结构通过玻璃表面的各种透明和不透明向外表现出来。

In Sector A, designed by GGMPU and Lucio Morini, the existing building presented some complexities manifested in problems of accessibility, fragmentation of interior spaces into planes at half levels difficult to cross, and unsuitable heights for exhibition spaces, which added to the dispersion of the buildings on the ground. The idea of the intervention was to design a building-connector that would develop in space, joining all existing parts, allowing them to maintain their own individuality and original character and at the same time express a strong unit whole. This building-connector materialized by using a metal structure manifested outwardly through a glass surface of diverse transparencies and opacities.

 © Gonzalo Viramonte

c Gonzalo Viramonte

博物馆从1200平方米扩大到4400平方米，提议改变其重心。这导致现在通过人行道层的一个广场改造了正门，解决了原通道中的残疾人和老年人无障碍的问题。在同一层是自助餐厅和艺术图书馆，都可以直接从广场进入。在第二层，原有建筑的储藏区和服务设施被改造成一个新的展览室。

The scaling of the museum, which went from 1200m ² to 4400m ², proposed a change in its center of gravity. This led to the modification of the main entrance now through a square at the sidewalk level, solving the problem of accessibility to disabled and elderly persons present in the original access. On this same level is the cafeteria and art library, both with direct access from the square. On the second level, the storage areas and services of the original building were transformed into a new exhibition room.

 Sections Facades

断面正面

在第三层，1962年扩建后的半层内部楼板被拆除，取而代之的是一个统一空间的新楼板，使其高度更高，并使之与1916年大楼修复的房间保持一致。1916年的建筑现在与入口广场上方的一个悬臂式门厅保持了连续性。这两个项目都重申了最初项目所呈现的钢琴弹力状态。这个新门厅为到达他们的交通工具的学生提供了另一条通道。

On the third level, interior slabs at half levels from the 1962 expansion were demolished and replaced by a new slab unifying the space, giving it greater height and leveling it with rooms restored from the 1916 building which now have continuity with a foyer in cantilever that is developed over the entrance plaza. Both reaffirm the piano nobile condition presented by the original project. This new foyer has another access for students who arrive in their transport.

 © Gonzalo Viramonte

c Gonzalo Viramonte

在下一层是通往一座与相邻建筑(如IPEF)相连的房桥，与位于那里的一组展览室形成一个连续的循环。

On the next level up is the access to a room-bridge that connects to the adjacent building (ex IPEF) forming a continuous loop with the group of exhibitions rooms located there.

 © Gonzalo Viramonte

c Gonzalo Viramonte

利用现有条件，该项目建立了多种大厅，其形状、大小、高度和灯光使各种艺术形式得以发展。

Taking advantage of existing conditions, the project has established a multitude of halls whose shapes, sizes, heights and lighting allow the development of a wide variety of art forms.

 Floor Plan Level 1

1层平面图