考古博物馆必须在遗产保护和向公众开放之间找到微妙的平衡。像帕拉卡斯这样的遗址博物馆,获得了额外的挑战,即必须融入这个文化的摇篮的景观,它现在是秘鲁沿海沙漠中最重要的生物和景观保护区的一部分。

An archaeological museum must find the delicate balance between heritage conservation exposed and release to the public. A site museum, as the Paracas, acquires the additional challenge of having to integrate into the landscape that was the cradle of this culture, which is now part of the most important biological and landscaping reserve of the Peruvian coastal desert.

3 001
1 005

该项目实际上是在其前身的废墟上实施的,其前身在2006年被地震摧毁。它重新获得了其矩形的几何形状和紧凑性。在这个体积上有一个裂缝或缺陷,分离了博物馆的披露功能,如车间、会议室和专门用于保护考古遗产的服务。进入博物馆的不同空间是通过这个 “裂缝 “完成的:开放的空间框住了部分景观,并创造了必要的隐私,以便在广阔的沙漠中生活。

The project is implemented practically on the ruins of what was its predecessor, destroyed by an earthquake in 2006. It retakes its rectangular geometry and compactness. A crack or flaw breaks in this volume, separating the functions of disclosure of the museum as workshops, meeting rooms and services dedicated to the conservation of archaeological heritage. The access to the different spaces of the museum is done by this “crack”: open spaces that frame portions of the landscape and create the necessary privacy to live in the vast desert.

在博物馆内部,探索了古代秘鲁人使用的迷宫式空间性和螺旋式路径与当代空间性之间看似矛盾的混合。

Inside the museum, is explored a seemingly contradictory hybridization between the labyrinthine spatiality and spiral path used by the ancient Peruvians and contemporary spatiality, smooth and transparent.

帕拉卡斯沙漠的环境要求和博物馆的收藏要求通过一个 “环境修正装置 “得到解决,该装置定义了建筑和博物馆的一方。该装置由一个灯柱组成,下面是展厅或流通空间之间的过渡空间,根据需求和他在项目中的位置。这个装置允许控制自然光、人造光、自然通风和不同环境的冷却。它的几何形状重新诠释了帕拉卡斯纺织品的锯齿和间隙特征,这是他最杰出的技术和艺术表现。

Environmental requirements of the Paracas Desert and the museologicals collection requirements are solved with a “device environmental correction”, that defines the architectural and museum party. The device consists of a lamppost run, under which are the transition spaces between exhibition halls or circulation spaces, according to the needs and his position in the project. This device allows to control natural light, artificial light, natural ventilation and cooling of the different environments. Its geometry reinterprets the serie and the gap characteristic of the Paracas textiles, which were his most outstanding technological and artistic expressions.

该建筑完全是用波兹兰水泥建造的,耐盐碱沙漠。裸露的混凝土和水泥磨构成了它的物质性,获得了一种自然的红色,与附近的山丘融为一体。

The building is constructed entirely with pozzolan cement, resistant to salt desert. The exposed concrete and cement grinding that constitute its materiality, acquire a natural reddish color that blends with the neighboring hills.

建筑师在环绕博物馆房间的抛光混凝土中留下的铜锈,给博物馆带来了陶瓷的外观,类似于暴露在里面的前哥伦布时代的陶瓷(huacos)。

The patina left by builders in the polished concrete that surrounds the museal rooms give to the museum a ceramic look that resembles the pre-Columbian ceramics (huacos) that are exposed inside.

1 003

Architects: BARCLAY&CROUSSE Architecture
Area : 1170 m²
Year : 2016
Photographs :Erieta Attali
Manufacturers : GRAPHISOFT, Miyasato, UNACEM
Contractor : Consorcio Paracas
Assistants : Rodrigo Apolaya
Estructural Engineer : Antonio Blanco
Client : Agencia Española para la Cooperación Internacional (AECID)
Authors : Sandra Barclay, Jean Pierre Crousse
Structural Engineer : Antonio Blanco
City : Ica
Country : Peru