这座建筑的历史早在它诞生之前就已经开始了，实际上是在11年前，作为一项国际竞赛的一等奖。即使在我们写这篇文章的时候，我们也不确定有一天大楼会被打开。也许，也希望它能够投入使用，就像Alejandro de la Sota的Tarragona民政政府所发生的那样，因为政治代表拒绝采取任何行动，或者可能会被判再关闭几年。

The history of this building beguns far before its birth, actually eleven (11) years before, as a First Prize of an International Competition. Even at the moment when we are writing this text, still we are not sure that the building will be opened someday. Perhaps and hopefully, it’ll be just put into service, as happened to the Civil Government of Tarragona of Alejandro de la Sota because political representatives refuse to do any act, or perhaps, will be condemned to stay closed a few years more.

 © Hector Santos-Diez

赫克托·桑托斯-迪兹

13.000.000欧元，10年，非常多的能量是必要的，以达到我们现在所发现的地步。今天我们所称的国家科学和技术博物馆MUNYT诞生于2001年，名为科鲁尼亚艺术中心(Coru A Center For The Arts)。

13.000.000 EUR, 10 years and much, very much energy was necessary to get to the point in which we find nowadays. What today we call National Museum of Science andTechnology - MUNCYT – was born in 2001 as A Coruña Center for the Arts.

艺术中心被设想为一个集装箱，容纳两座性质各异的建筑：科鲁尼亚省议会的新舞蹈学院和内容不明的省级博物馆。该项目的大部分工作集中在界定艺术中心两名成员各自的身份。不可能有误解的余地，从职能、方案和临时的角度来看，每个误解都有其个别性质，必须用来建立这两个方面的特性。

The Center for the Arts was conceived as a single container to house two buildings of diverse nature: the new Dance Conservatory of the provincial Council of A Coruña and a Provincial Museum of ambiguous content. Much of the efforts of the project focused on define what was the identities of each one of the two members of the Center for the arts. There could be no room for misunderstandings, each one had its individual nature from the functional, programmatic, temporary point of view and that had to be used to build the character of both.

 © Hector Santos-Diez

赫克托·桑托斯-迪兹

一种混凝土树，它的枝条里包含着舞蹈的流派，围绕着这棵树状的形状，它是博物馆，在物体和极限之间。这个奇怪的形状是博物馆空间的主角，定义了游客和地点之间的关系：意味着你进入了音乐学院；表示你在博物馆，in/on。两种不同的正面(印刷玻璃-标准玻璃)，两种温度的照明颜色(Halógen-荧光)，两种材料(硬软).，两个楼梯制造一个双螺旋(线圈)，以保证游客和学生之间的完全自主。

A concrete tree that contains the school of dance into its branches and, surrounding this treelike shape it was the Museum, between the object and the limit. This strange shape stands as a protagonist of the museum space and defines the relations between the visitor and the place: IN means that you’re into the Conservatory; ON means you’re at the Museum, IN/ON. Two different facades (printed glass – standard glass), two temperatures of lighting color (halógen-fluorescent), two types of materials (hard-soft)..., two staircases making a double helix (coil) to guarantee the full autonomy between the visitors and the students.

 © Hector Santos-Diez

赫克托·桑托斯-迪兹

2003年开始施工，与这座建筑相结合的财富：一家优秀的建筑公司OHL团队和两名杰出的科鲁尼亚建筑公司的技术人员陪同这些建筑师。这里开始了这个故事的更英雄和更快乐的时期：它的建设。这在技术上是非常苛刻的，但是执行的非常准确，使他看起来像一个中欧的工作。在西班牙，它第一次被使用自密实混凝土，不包括在西班牙的建筑条例中，所以它是一个实验结构。我们还开发了一个太阳能结构玻璃外墙。

In 2003 construction begins and the fortune allied with this building: a good construction company OHL team and two magnificent technicians of the Diputación de A Coruña accompanied the architects. Here began the more heroic and happy period of this story: it’s construction. It’s was technologically very demanding but was executed with such accuracy that it made him look like a central European work. For the first time in Spain it was used a self-compacting concrete, not included in the spanish construction regulations, so it was an experimental structure. We also developed a solar structural glass façade.

在工作的办公室里，我们谈到了分子行为，在一个具有传染性协同作用的环境中。总计：333艘油轮上的混凝土7 500吨、模板16 000平方米、钢材1 150 000公斤、直径22厘米、长125厘米的1 000个彩色音响筒、15公里电缆和3 750张玻璃层压板200 x80厘米。该项目以95%的保真度完成，没有预算偏差(900万欧元)，2006年底，该建筑几乎完工。此时，它在纽约的MOMA展出，并获得了第九届西班牙建筑双年展青年建筑奖。

At the work’s office we spoke about molecular behavior, in an environment of contagious synergy. Total: 7,500 tons of concrete in 333 tankers, 16,000 m2 of formwork, 1,150,000 kg of steel, 1,000 colorful sound cylinders of 22 cm in diameter and 125 cm long, 15 km of cables and 3,750 printed glass laminate 200 x 80 cm. The project was finished with 95% fidelity to the original drawings and without budget deviations (9 million euros) and at the end of 2006 the building was almost finished. At this time it was exhibited at the MOMA in New York and received the prize of young architecture of the IX biennial of Spanish architecture.

 © Hector Santos-Diez

赫克托·桑托斯-迪兹

然而，政治的起起落落即将改变这一轨迹，由于缺乏内容，大楼关闭了1000天。鸟类和猫找到了通往它内部的路，它们在这个神奇的空间里做爱，所以我们有两三代快乐的猫和鸽子的爱好者我们的建筑。灰尘堆积，设备生锈，不是生下来的，看上去像废料。在那些日子里，我们回忆起尝试，做了一些旅行，并支付了很多饮料，以找到谁想使用它，但在政治阶层有谁想接受挑战。同时，它在国内和国际上都得到了广泛的出版。

However the political ups and downs were about to change the trajectory and the lack of content left the building closed for 1000 days. Birds and cats found the way to its interior, they make love in this magical space so we had two or three generations of happy cats and pidgeons fans of our architecture. The dust accumulated, the equipments became rusty; It was not born, and it looked like scrap. During those days we recall attempts and make some journeys and paid a lot of drinks to find someone who wanted to use it, but there was anyone in the political class who wanted to take up the challenge. In the meanwhile, it was widely published nationally and internationally.

 © Hector Santos-Diez

赫克托·桑托斯-迪兹

时间一天天过去，羞耻感也暴露了出来；找到解决办法是必要的。它之所以出现，是因为科学和创新部需要为国家科学和技术博物馆提供一个地方，从那时起，我们使用了他的下一个名字：MUNYT。一个工程，为了适应新的程序和环境，被迫关闭原来的入口，在另一边新建一个新的入口，用钻石丝在混凝土墙上凿出一个4米x8米的大洞。还要求将音乐学院改造为辅助服务大楼，并要求通过通信的核心连接-在此之前从未存在过-的连接。

Time was passing by and the shame was coming to light; it was neccesary to find a solution. It appeared because the Ministry of Science and Innovation needed a place for the National Museum of Science and Technology and from then on we used his next name: MUNCYT. A project to adapt to the new program and circumstances forced to shut down the original entrance and make a new one on the opposite side, cutting a big hole of 4 m x 8 m in a concrete wall with a diamond wire. The transformation of the Conservatory to Complementary Services Building, with the resulting connection - which had never existed until then -through the core of communications was also requested.

他们不再是两座自治建筑，而是一座有两张脸的建筑。此时此刻，所有努力都集中在努力维持新管理人员以特定方式作出的决定的总体一致性。任何微小的变化都会对整个城市产生多米诺骨牌效应，迫使人们重新思考从疏散计划到对城市建筑的看法。此外，我们还用一项AcboXalonso项目对户外空间进行了城市化，但在危机的突发情况下，细节没有执行，园艺和家具被淘汰。

They were no longer two autonomous buildings but one with two faces. At this moment all efforts focused on trying to maintain the overall coherence of decisions that were taking in a particular way by the new managers. Any small change produced a dominoes effect on the total, forced to rethink from schemes of evacuation to the perception of the building in the city. Also we urbanized the outdoor spaces with a project of aceboXalonso, but under the paroxysm of the crisis, details were not executed and gardening and furniture were eliminated.

 © Hector Santos-Diez

赫克托·桑托斯-迪兹

这座建筑是从噩梦中走出来的，在未来“连续”的就职新闻的吸引下，像咖啡厅和餐厅这样的小布斯林开始在周围开业，受到部长们年复一年的来来往往的鼓舞。这架波音747飞机的驾驶舱“洛佩·德维加”(Lope De Vega)在纽约的MOMA流亡了44年之后，1981年，这架飞机又把毕加索的格尔尼卡号带回了这里。

The building was coming out of its nightmare and small bussines like cofeeshops and restaurant started to open in the surroundings, attracted by the “continuous” future inauguration press news, encouraged by the comings and goings of Ministers year by year. It begun to receive strange visitors who came to stay, as the cockpit of the boeing 747 "Lope de Vega", the one that in 1981 brought back the Picasso’s Guernica after 44 years of exile in MOMA of New York.

要打开一条通往大楼的通道，同时也要为20吨的吊车装上这个巨大的东西，大约25平方米的立面必须拆卸，一些柱子必须被切割成一个不寻常的事实，一座非专业设计的建筑有能力容纳这类尺寸的一部分。一切似乎都很顺利，但突然出现了“E计划”(西班牙2009年刺激经济和就业的计划)，快速和小型项目将被仓促推进，并委托7个不同的博物馆团队，在一个被设想为独特和全面的空间中开展7个项目。

To open a route into the building, and also for the 20 ton crane needed to fit this enormous item, about 25 sqm of facade had to be disassembled and some pillars had to be cut becoming an unusual fact that a building not designed ex profeso had the capacity to house a piece of such dimensions. Everything seemed to go fine, but suddenly appeared the “E Plan” (Spanish Plan to stimulate the economy and employment in 2009) for fast and small projects to be rushed and commisioned seven different teams 7 projects in museology for a space conceived as unique and total.

 © Hector Santos-Diez

赫克托·桑托斯-迪兹

我们上次去那里是一年前。我们从在场的摄影师那里收到了这些照片，这是我们第一次看到灯亮着。现在我们认为，尽管有上述情况，这座建筑始终显示出高度的复原力，这使我们认为它将能够成功地迎接新的挑战。

Last time we have been there was one year ago. We received these photos from photographers who were there, and it’s the first time we can see the lights on. And now we think that, despite the circumstances described, the building has always shown a high level of resilience and this makes us think that it will be able to meet new challenges successfully.