Since the reality of the whole San Gregorio is multiple and complex, so is the approach that the project has to cope with their transformation and adaptation. Consequently, the image of the architect as author and intellectual sole responsibility of the work is called into question when it comes, as in this case, to extend an existing building, designed in another era by other architects and transformed dramatically over the centuries. Hardly understand that an artist modifying a person’s work in the field of music, painting, sculpture, literature and film, however, the architecture naturally assumes the possibility of its transformation, in a continuous process for modifications made out by different authors over time. Perhaps that is why modern architecture from the beginning maintained an uneasy relationship with history, which has led to intervention in buildings of cultural attitudes have fluctuated between overly conservative or mimetic, on the one hand, and charges unrelated to the story itself the building, on the other.
El Colegio de San Gregorio is one of the most outstanding buildings in Valladolid, representative typical late Gothic in Spain at the end of the fifteenth century. Traces the various interventions over the years have left him, reflecting the life of the building, far from frozen in a particular moment in time, has been adapted with varying degrees of success to the most diverse uses-school, prison, management, or museum and to the evolution of new construction methods and facilities.
The fundamental question of how to deal with rehabilitation and expansion of the National Sculpture Museum has not been raised in a generic but specific to each area and particular circumstances. Fortunately the building has remained until today a fully recognizable formal structure based on three elements of great architectural value: the front-cover with the adjacent courtyard of Schools, Cloisters and the Chapel. The project involves a comprehensive intervention with varying degrees of intensity. In the former College and Senate, we act with respect to the original structure while preserving and restoring the architectural elements of greater value by reorganizing all circulations and exhibition areas of the Museum. A new host flag centralizes access to all. Conceived as a small independent piece, contemporary form and materials, dialogues in scale with the existing architecture. In the building of the roofs, so called for incorporating in the day raised bodies emerging from the other buildings, we retain the facade, gallery, turning inside and changing the profile section. The new president skylight showrooms tall suitable for displaying the most valuable parts of the museum’s collection.
As part of an altarpiece architecture built over the centuries, new interventions become part of the always unfinished process of additions and changes that accompany the life of buildings over time.