阿尔罕布拉宫花园中的一扇窗户
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"巴里奥斯家族艺术遗产"展览空间与位于巴斯克多拉梅斯基塔 “Mosque Bath” 旁的建筑的修复和诠释
1492年的阿尔罕布拉宫基督徒征服导致一些建筑物转变为私人住宅。在巴斯克多拉梅斯基塔 “Mosque Bath” 的情况下，伊斯兰建筑被彻底改建成了一个带花园的庭院住宅，位于考古遗址上。从1883年到1934年，巴里奥斯家族定居在这个地方，成为许多艺术家、诗人和音乐家的聚会场所，如萨金特、洛尔卡和法拉，被认为是该市和阿尔罕布拉之前的文化中心，在20世纪初重建伊斯兰式巴斯克多拉梅斯基塔 “Mosque Bath” 的托雷斯·巴尔巴斯之前，这在历史上被视为历史修复的一个过程。
在被花园环绕的历史空间中，进行的干预将中世纪的建筑、其他更近期的建筑、考古花园和庭院的遗址与家具、乐器、声音和音乐作品联系起来，延续了对现今的回忆。修复工作基于对这个地方及其历史转变的历时性解释，通过建筑前先存在物的价值、对象及其艺术和解释维度。艺术家安赫尔·巴里奥斯的音乐、钢琴和吉他、照片和家庭物品与巴斯克多拉梅斯基塔 “Mosque Bath” 的中世纪墙壁旁的展览空间构成了一个多元元素的场景，唤起了这个空间的历史及其历史中的转变。该项目还包括一个考古花园，其中有一个来自古代伊斯兰宫殿的水池，打算恢复为公共参观和与埃尔帕塔尔花园相连的音乐夜晚。
干预开始于一个路线，通过对浴池、房屋庭院和考古花园的顺序关联，使这个地方的三个最重要的元素可见。来自不同时期和风格的三个窗户串联起对这个空间历史的情感之旅。在路线的最后，一个大窗户观景台旁边有一块地毯，上面有伊斯兰式浴池的图画，音乐家的钢琴将花园和水池的存在延伸到了室内。
Rehabilitation and interpretation of the building annexed to the Baño de la Mezquita (Bath of the Mosque for the exhibition space "Artistic legacy of the Barrios family"
The Christian conquest of the Alhambra in 1492 led to the transformation of some of its buildings into private houses. In the case of the Baño de la Mezquita (Bath of the Mosque), the Islamic construction was radically adapted into a courtyard house with a garden located on the archaeological remains. Between 1883 and 1934, the Barrios family settled in this place that became a meeting point for a large group of artists, poets and musicians such as Sargent, Lorca and Falla, and was recognized as the cultural hub within the city and the Alhambra before the reconstruction of the islamic Baño by Torres Balbás which took place in the early 20th century within the process of an historical restitution of the monument.
In this historical space surrounded by gardens, the intervention carried out links the former medieval constructions, other more recent ones, an archaeological garden and the remains of a courtyard along with domestic objects, instruments, sounds and musical compositions that prolong the remembrance to the present day. The rehabilitation is based on the diachronic interpretation of the history of this place and its transformations through the value of the architectural pre-existences, the objects and their artistic and interpretative dimension. The music of the artist Ángel Barrios, the piano and guitar, photographs and familiar objects arranged next to the medieval wall of the Baño constitute a scenario of diverse elements that evoke the history of this space and its transformations throughout history. The project incorporates an archaeological garden with a water pool from an old Islamic palace that is intended to be recovered for public visits and musical evenings in continuity with the gardens of El Partal.
The intervention begins with an itinerary that relates the spaces of the bath, the courtyard of the house and the view of the archaeological garden in this sequential order, making visible the three most significant elements of the place. Three windows from different periods and styles articulate an emotional journey through the history of this space. At the end of the itinerary, a large window-viewpoint next to a carpet, that has a drawing of the Islamic bath, and the musician's piano extends the presence of the garden and the pool into the interior of the rooms.
CREDITS
Architect of the project and construction management: Juan Domingo Santos Architect collaborating in the project and construction management: Carmen Moreno Álvarez Museum project: Juan Domingo Santos y Carmen Moreno Álvarez Collaborators: Juan Moreno Romero (project and construction management), Loreto Corisco González (museum project), Alejandro Infantes Pérez y Ana I. Rodríguez Aguilera (graphical representation and models), architects Industrial engineer: Patricio Bautista Carrascosa (Ábaco Ingenieros)
Promotor: Patronato de la Alhambra y Generalife (Junta de Andalucía)