WHAT

WHO

HOW MUCH

HOW

PROGRAM
FINANCING
ABSOLUTE DIMENSIONS
RELATIVE DIMENSIONS
DESIGN STRATEGY

SURFACE EXTENSION

SURFACE REDUCTION

VOLUME EXTENSION

VOLUME REDUCTION

STRUCTURE

MATERIAL

IMAGE

84 PROJECTS

Variation of modes of use: functions, users, schedules, etc.

Relationship between the ownership and the form of the investment that allows the transformation

Variation of the overall dimensions of the building

Proportional relationship between new spaces and existing spaces

Relationship between the structural adjustments and the existing structure

Relationship between the forms and types of pre-existing materials and those of the new intervention

Relationship between the image of the new and the image of the existing (mimesis / contrast)

LOCATION

Oviedo, Spain

ARCHITECTS / FIRM

FRANCISCO MANGADO – MANGADO Y ASOCIADOS S.L.

YEAR

2014

34 Francisco Mangado – Extension of the Museo de bellas artes de Asturias


PROJECT - Main Infos

PROJECT: 34 Francisco Mangado – Extension of the Museo de bellas artes de Asturias

LOCATION: Oviedo, Spain

YEAR: 2014

ARCHITECT / FIRM: FRANCISCO MANGADO – MANGADO Y ASOCIADOS S.L.

BUYER: Principado de Asturias - Consejería de Cultura y Turismo. Museo de Bellas Artes de Asturias

SURFACE: Extension: 5.323 sqm Total surface: 11.142 sqm

PRICE: € 12.047.162,05

DESCRIPTION:
The new extension of the Fine Arts Museum of Asturias, a very important north Spanish region, is integrated into an urban complex which through successive expansions has made room for one of Spain’s finest art collections. Before the extension, the museum’s most important architectural piece was the Velarde Palace, which is a splendid renaissance building. To carry out the enlargement, the museum for a time went about buying adjacent buildings facing Calle de la Rua. These were buildings erected in different periods with floor plans that were narrow and deep. Internally they were impossible to turn into exhibition spaces for the museum, but their exteriors, though not extraordinary, were in dimensions and scale an integral part of the collective imagery of the historical city of Oviedo. The new enlargement project logically began with an analysis of the museum as a whole. The first decision was to preserve the urban canvas formed by the existing facades, while freeing up the interior through complete demolition. It was important to maintain the sequence of facades. It seemed a necessary concession to the urban context. We accepted the challenge of making the new construction reconcile a project of architectural contemporaneity with the maintenance of the urban ‘curtain’, irrefutable and beloved by the population that shaped a street which is so important in the history of the city. Awareness of this led us to place the staircase parallel to the street, thereby creating a facade-space comprising three canvases: the historical exterior, the glass enclosure of the new volume, and an inner wall open to the museum stair. A space where history and novelty are superposed, where views between inside and outside are never immediate, but take place through awareness of the passage of time, represented in the superposition of the three limits. The building’s internal layout acknowledges the inner block courtyard’s presence in the city as a mechanism for adapting to the context, but also as an element able to structure and give spatial quality and luminosity to a sequence of exhibition spaces. The exhibition halls are arranged around a very special void, lit from above and laterally, that rises the entire height of the building from the basement levels. This spatially ambitious element organizes accesses and routes, and more importantly, creates a crossing of views, making it possible for one to contemplate the galleries and displays from different angles and distances, near and far. The decisions so far explained are complemented by a systematic use of natural light. Here the higher floors receive zenithal light. The development of the project has been particularly important for the city of Oviedo. Complex in constructional terms because of the difficult digging that had to be done, the work has been followed by the people of the city with permanent excitement.

WHAT - Program


TOTAL REPLACEMENT / DISCONTINUITY: The new functional program has completely replaced the original one.

DESCRIPTION:
The new extension of the Fine Arts Museum of Asturias, a very important north Spanish region, is integrated into an urban complex which through successive expansions has made room for one of Spain’s finest art collections. Before the extension, the museum’s most important architectural piece was the Velarde Palace, which is a splendid renaissance building. The program mainly comprises new exhibition galleries as well as all the museum’s archives. The archives were previously situated in basement levels. The new enlargement project logically began with an analysis of the museum as a whole, taking into account the existing buildings. The first object of study was how existing and new buildings would relate with one another, along with the relocation of a good number of functions within the existing complex.

WHO - Financing


BALANCE BETWEEN CONSERVATION AND REPLACEMENT: Balanced financing between the original owner and another investor.

DESCRIPTION:
The project is the result of a public tender. From the beginning, the city council, as owner of the museum, made it clear that the urban and historical context in which the work would be carried out should be the central value of the project, distinguishing it from other museums in the country. Therefore, it was not difficult to put together a project that prioritized respect for the city, its urban context and its history in equal measure as functionality and other essential aspects. In this project, the office had cooperated with the principal of the Principado in order to ensure the financing of the European Union, during the entire construction period. It was crucial to be punctual in all phases of project development respecting the dates of delivery of each phase according to the European program.

HOW MUCH - Absolute Dimensions

- SURFACE present EXTENSION,

BALANCE BETWEEN CONSERVATION AND REPLACEMENT: The overall dimensions are about twice the pre-existing surface.

- VOLUME present EXTENSION,

BALANCE BETWEEN CONSERVATION AND REPLACEMENT: The overall dimensions are about twice the pre-existing volume.

DESCRIPTION:
The most important element of the project is the maintenance of the facades of the existing buildings, although it was not a demand of the client. The project preserves the urban canvas formed by these facades, freeing the interior through complete demolition. It seemed a necessary concession to the urban context, a contextual condition worth exploring. The maintenance of the facades consisted of a link between the old and the new history, preserving the collective memory of the main square, which is in front of it.

HOW MUCH - Relative Dimensions


TOTAL REPLACEMENT / DISCONTINUITY: The new spaces have completely replaced the existing spaces.

DESCRIPTION:
The new extension spaces have completely replaced the existing spaces. The project preserves the urban canvas formed by these facades, freeing the interior through complete demolition. To us it seemed important to maintain the sequence of facades. It seemed a necessary concession to the urban context, a contextual condition worth exploring. We accepted the challenge of making the new construction reconcile a project of architectural contemporaneity with the maintenance of the urban ‘curtain’, ‘archaeological’ ‘curtain’, irrefutable and beloved by the population that shaped a street which is so important in the history of the city.

HOW - Design Strategy STRUCTURE


TOTAL REPLACEMENT / DISCONTINUITY: The original supporting structure has been completely replaced by a new structure.

DESCRIPTION:
To carry out the enlargement, the museum for a time went about buying adjacent buildings facing Calle de la Rua. These were buildings erected in another period, with floor plans that were narrow and deep, spaces that were small and badly ventilated, of little architectural value inside. Internally they were impossible to turn into exhibition spaces for the museum, but their exteriors, though not extraordinary, were in dimensions and scale an integral part of the collective imagery of the historical city of Oviedo.

HOW - Design Strategy MATERIAL


PREVALENT REPLACEMENT / DISCONTINUITY: The materials chosen for the new intervention show more differences than similarities compared to the pre-existing.

DESCRIPTION:
The new building will be discernible from outside through the naked openings of the historical facades. Openings deprived of frames, as in an old ruin, in search of a near-surrealist character in the interaction between old materiality and the mineral materiality of the new volume.

HOW - Design Strategy IMAGE


PREVALENT REPLACEMENT / DISCONTINUITY: The new intervention favors a relationship of discontinuity with the existing structures.

DESCRIPTION:
The materials chosen for the new intervention are completely different from the pre-existing ones. The new volume is glazed, luminous, seeking to catch reflections of the historical facade and allow them to complete the formal effect desired. The light of Oviedo, ever changing in an extraordinary way, can thus act with closely studied and sought intensities and results. With all of this, the project manages to express not only a rapport between preexisting and new, but also an image which is powerful visually and formally as well as loaded with subtleties—an image befitting a cultural institution of this importance.