*예술학교와 박물관이 결합된 아트센터 [ aceboXalonso studio ] La Coruña Center For The Arts

이종접합? 상이한 두개의 객체를 일대일 접합하여 결합된 새로운 공간을
만들어 내는 공식은 무엇일까?
미술과 댄스를 다루는 종합 예술학교와 박물관이 결합된 아트센터는 상이한 두개의
객체, 공간, 컨텐츠, 기능을 결합하여 단일화된 볼륨으로 구획됩니다.
게다가 아트센터의 고유한 캐릭터를 갖기 위한 사전 작업이 필요한데요,
그것은 정확한 룸데이타의 정의와 객관적인 사실-기능, 프로그램, 파사드를 정의하는 뷰 포인트-을 기초로 하는
분석적인 다이어그램과 데이타들 이죠.
실상 건축가에게 가장 필요한 것은 프로그램을 정확히 이해하는 깊이와
상이한 프로그램을 알맞게 접합시키는 폭이 필요한 것이지 아닐까 싶습니다.
여기에 공간을 정의하는 기묘한 형상의 트리-여기서 이야기 하는 트리는 나무형상을 띄고 있다기
보다 자연의 일부분으로써 공간이 정의하는 컨텐츠로 이해하는 것이 맞을 것 같다.-
방문객을 맞이하는 중요한 가이드요소로 작용하고 있습니다. 그 이유는 박물관 내부 홀에 대한
주인공으로써 공간을 정의하는 동시에 방문객과 장소를 연결하는 안내자의 역활을 선행하고 있기 때문이죠.
여기에 상이한 두개의 파사드-프린트 글래스/일반적인 글래스, 빛의 온도에 따라 다르게 반응하는 컬러,
하드한 재료와
소프트한 재료-를 연결하는 동시에 구분 짓어 방문객과 학생들 사이에
정확한 가이드 라인을 형성하여 공간의 흐트러짐을 미연방지합니다.

반투명한 글래스 박스 안에 담겨진 콘크리트 볼륨 그리고 그것들을 구분짓는
컬러풀한 트리가 조화롭게 디자인된 아트센터의 공간감은
범용적인 공간에서 쉽게 찾을 수 없는 깊이와 폭이 있는 것 같네요.

reviewed by SJ


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.


Architects: aceboXalonso studio – Victoria Acebo y Ángel Alonso
Location: La Coruña,
Years: 2001 – 2011
Photographs: Hector Santos-Diez



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.
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.



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.



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.

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.


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.



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.

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.


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.

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.


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.




from  archdaily

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