架构师提供的文本描述。博物馆项目是由Hellín市组织的思想竞赛的结果。竞赛规则考虑了翻修Casa del Conde以及在原先被房屋的一些小型服务建筑所占用的地块地区建造延伸部分的问题。

Text description provided by the architects. The Museum Project was the result of anideas 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.

 © Fernando Guerra | FG+SG

费尔南多·格拉

在比赛获胜的提议中，我们把完全翻新的卡萨德尔康德博物馆作为博物馆的一部分。我们甚至想给它一个主要的角色，把以前的后院立面作为新的主展览空间的背景。房子的内庭作为展区也起着重要的作用，它建立了新旧建筑之间的关系。上层设有一个行政区域和一个图书馆。

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.

 © Fernando Guerra | FG+SG

费尔南多·格拉

然而，在我们开发该项目的时候，经过对该建筑的严格检查，我们确认不可能以合理的成本翻修整栋房子，因此我们决定集中一切努力来保存和修复油漆的外墙和那些有价值的元素(石柱、铁厂、…)。我们可以恢复到博物馆。

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.

 © Fernando Guerra | FG+SG

费尔南多·格拉

这样，旧的外墙，一旦消失了，房子的其余部分，不再仅仅是一个建筑元素，也成为一个帆布，一个装饰的表面，作为一个展览对象整合在博物馆内。这的确是一个非常特别的问题，因为它在建筑与周围环境(假定教堂)的关系中起着决定性的作用，也与城市的历史和记忆有关。

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.

 © Fernando Guerra | FG+SG

费尔南多·格拉

尽管房子已经消失了，但我们保留了所占用的房屋数量，作为一种适应环境规模的机制。这座新建筑向后退，在游客的主要通道前创造了一个小广场。因此，博物馆作为一个整体，回应了双重城市规模，封闭的街道规模和教堂广场的远距离规模。此外，建筑物适应地块陡峭的坡度，降低纵向高度，始终保持周围房屋的城市规模。

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.

 © Fernando Guerra | FG+SG

费尔南多·格拉

另一种整合建筑物并使其具有代表性的机制是，在正面使用与附近教堂相同的当地石头，使博物馆进入历史中心的彩色光谱。

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.

在里面，一个由光形成的白色混凝土空间围绕着雕塑之间蜿蜒曲折的道路，这些雕塑矗立在几个大型的木制基础上，组织展览，并包含较小物品的展示柜。因此，它发生的正好相反，在复活节，在这种情况下，是游客徘徊在雕塑之间，因为他发现他们从不同的点。

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.

主体空间的大尺度、光的有意利用和材料少而耐用的建筑，使室内呈现出一种非常适合于重要宗教雕塑收藏的特征。

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.