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Hellín市政当局为复活节雕塑博物馆项目举办概念设计竞赛。竞赛内容包括对一栋老别墅进行修复以及在之前用于服务用房的地块上进行扩建。EXIT ARCHITECTS的方案在竞赛中拔得头筹，建筑师将修复后的别墅用作博物馆的一部分，并赋予其一项重要功能，把后院的立面作为主展厅的背景墙来使用。别墅的内院被设计成室外展场，成为新老建筑的交汇之地。建筑楼上的部分被用作行政办公和图书馆。

The Museum Project was the result of an ideas 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.

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.

在仔细检查了原有别墅建筑之后，建筑师发现在合理的花费之内对其进行完全的修复是不可能的。因此，他们决定集中力量对尚能修复的部分——彩绘立面及有价值的元素（石柱、铁艺构件…）进行保留和修复。以这样一种方式，墙面不仅成为建筑元素的一部分，同时作为一副画作成为博物馆的展品。在别墅与周围环境（圣母升天教堂）、城市历史与记忆的复杂关联中，墙面起到了至关重要的作用，这也是它最为特殊的地方。

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.

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.

▽ 彩绘墙面，the painted façade

别墅虽然消失了，但新建筑保留了它的体量，以此作为一种与周围环境尺度相适应的机制。新建筑比之退后，在主观众入口前方营造出一个小广场。由此，博物馆作为一个整体对两种不同的城市尺度做出回应：其一是近尺度的街道，其二是远处的教堂广场。除此之外，建筑顺应地势，在长向剖面上高度递减，因此形成了从各个方向都与周边环境相协调的体量感。另一让建筑更加融入环境的要素是墙面使用的材料，后者使用的是一种与附近教堂相同的产自当地的石材，使得博物馆同历史中心区的色调关系更加和谐。

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.

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 of the historic centre.

▽ 站在博物馆看周围环境，surroundings

▽ 从街道看建筑，view from streets

▽ 左：入口广场，left: square in front of the entrance；右：从庭院看建筑，right: view from the courtyard to interior

室内的白色混凝土墙面在光线照射下显现出干净利落的空间形制。木质基座用于大型雕塑的展示，其中还包含一部分展柜，用于陈列小型的雕塑作品，这些基座决定了展览的次序，观众游弋在雕塑之间，从不同的角度观赏作品。这种与大部分空间决定展览顺序相反的展览方式是复活节博物馆与众不同的地方。宽敞的主体空间内，建筑师对光线的刻意塑造，对精简而耐用的材料的使用，赋予它庄重而纯粹的气质，使其非常适合陈列具有宗教意义的雕塑作品。

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.

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.

▽ 入口，entrance

▽ 大厅，hall

▽ 展场空间，exhibition space

▽ 上部空间，upper floor

▽ 玻璃幕墙，glass curtain wall

▽ 总平面图，site plan

▽ 标高+0.00平面，plan +0.00

▽ 标高+3.50平面，plan +3.50

▽ 标高+7.50平面，plan+7.50

▽ 长剖面，long section

architects：EXIT ARCHITECTS，IBÁN CARPINTERO / MARIO SANJUÁN
client：PUBLIC WORKS MINISTRY / HELLÍN MUNICIPALITY
built area：2.160 m2
budget：3.512.235 euros
project：2002
completion：2011
collaborators：MIGUEL GARCÍA-REDONDO, SILVIA N. GÓMEZ, ÁNGEL SEVILLANO, JOSÉ Mª TABUYO
technical architects：ALBERTO PALENCIA / JOSÉ ANTONIO ALONSO
mechanical consultant：MAINTENANCE IBÉRICA
structural consultant：INDAGSA (JOSÉ LUIS CANO)
photographs：FERNANDO GUERRA, EXIT ARCHITECTS
general contractor ：PEFERSAN, S.A.

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分支机构

Easter Sculpture Museum, Hellin / EXIT ARCHITECTS

CulturalCivic Center，Spain / Exit Architects