架构师提供的文本描述。由于社会和技术的变化，以及由于目前的方案不一致，不同类型的项目被遗弃和恶化，这是一件常见的事情。

Text description provided by the architects. Its a common thing that, due to social and technological changes and also because of  programmatic inconsistencies for the present times,  different types of projects becomes abandoned and deteriorated.

因此，一段时间前，“阿姆斯特丹宣言”在综合保护方面指出了某些建筑物的重要性，这些建筑物必须通过改变其用途来加以保护，但必须把这些财产拯救到现在的生活中去。

Hence, and some time ago, the Amsterdam Declaration, with respect to integrated conservation, stated the importance of certain buildings, which had to be preserved by mutating their use, but rescuing the patrimonial asset to the present life.

 © Pablo Blanco

帕布洛·布兰科

显然，遗产建筑并没有被改造成艺术中心，它必须具备这样的条件，将新的项目和现有的技术与遗产结合起来。

As it is clear the heritage building is not adapted to be an Art Center, it must be conditioned for this, combining the new program and current technologies with the heritage legacy.

 © Pablo Blanco

帕布洛·布兰科

 © Pablo Blanco

帕布洛·布兰科

项目准备

THE PROJECT

一个新的项目，艺术中心，将在1940年建造的一座建筑中实施，它也具有特殊的价值​​和特性，比如密度粒度测量的纯体积法，一个特殊而脆弱的结构体系，再加上一系列的小空隙，这些都是面粉流通的管道，它的内部看起来就像一大桶木桶里的机器，这些元素必须被考虑进去。

The condition of a new program, Art Center, that was to be implemented in a building that was designed to be a a mil, built in 1940, and that also had special values ​​and characteristics, such as a pure volumetry of dense granulometry, a special and weakened structural system, plus a series of small voids, which were the conduits through which the flour circulated, made the interior look like a machine contained in a big bucket of wood, elements that had to be considered 

 © Pablo Blanco

帕布洛·布兰科

 © Pablo Blanco

帕布洛·布兰科

第一种干预措施是从外部认识到遗产建筑是独特的，新的平方米不可能这样设计，因此，存在和新的部分之间应该有一个对应点，产生一个大的木材立方体和一个较小的钢筋混凝土体积。

The first intervention was to recognize externally that the heritage building was unique, and that the new square meters could not be designed that way, so, there should be a counterpoint between existence and the new parts, generating a large wood cube and a smaller reinforced concrete volume.

这台伟大的工业机器，曾经是一个磨坊，现在又是一个艺术中心，成为面粉生产机器的类比，所有的设备都在眼前，作为建筑的一个活的生产系统，它没有掩盖它的缺陷，而是把它们作为设计的一部分。

This great industrial machine, once a mill and now an Art Center, becomes the analogy to the flour production machine, with all the facilities in sight, as a living production system of the building, which does not hide its imperfections but shows them as part of the design. 

 © Pablo Blanco

帕布洛·布兰科

以内部为特征的一系列原始空隙被合成两个主要的空洞，它们视觉上连接着内部的各个层次，也允许看到原来的结构，由主梁和次级梁组成，它们不再能够在结构上对新的用途作出反应。因此，设计了一种并行结构，将建筑作为一个在视线中的脚手架，参与整个设施网络，具有工业美学。

The series of original voids, which characterized the interior, were synthesized in two major voids that visually connect the interior between levels and also allows to see the original structure, composed of main and secondary beams which were no longer capable to structurally respond to the new use. Therefore, a parallel structure was designed, which sustains the building as an in sight scaffold that participates in the entire network of facilities, in an industrial aesthetic.

 © Pablo Blanco

帕布洛·布兰科

新建筑中的剧场室和原有建筑中的展览馆与办公楼之间的体积关系得到了解决，所有的垂直循环都是向斜坡方向的，这样就可以看到更大的空间可以俯瞰湖面和火山。

The volumetric relation of the patrimonial and the new was solved with the theater room in the new building and the program of expositions and offices iin the original building, and all the vertical circulations were located towards the slope, In such a way, that the larger spaces would be overlooking the lake and the volcanoes.