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1717年，由Pedro de Ribera主持设计的马德里Conde Duque伯爵军营，能容纳六百多位皇家卫队骑士和四百多匹战马。在差不多三个多世纪的时间里，这座建筑历经无数摧残，却近乎维持原貌。19世纪后半期两次严重的大火几乎焚毁整个建筑，至今恢复工作仍在进行中。

自2004年起草新的修建方案开始到2011年，新的修缮工作已经完成。这栋建筑自竣工，到成为继马德里旧宫之后最大体量的建筑，历经艰险，是马德里鲜为人知的伟大建筑之一。

In 1717, Pedro de Ribera drew the first project of the Conde Duque barracks in Madrid. It had to provide answers for an ambitious program to house the more than 600 men and 400 horses of the Royal Guard. For almost three centuries the building has maintained the same structure, having overcome countless trials. The most significant ones were two fires in the second half of the 19th Century that almost required its demolition and rebuilding. The restoration was never complete.

In 2004, with the drafting of the Plan Director, began a new adventure in the life of the Conde Duque, which finished with the completion of the works in 2011, after a total and coordinated renovation of the whole building.In its moment it was a risky gamble, since it was the largest building in Madrid after the Alcázar, the old royal palace. And it still is one the hugest and less-known historic buildings of the city.

▼建筑正门入口，The Entrance of the main part

新的建设项目由马德里政府提议，基于对建筑现状以及各种因素的综合考虑，它将被打造成多种用途的交互空间，包含一个音乐厅，一座剧院，一间集会大厅…等多个小场地的空间整合。

The program proposed by the City of Madrid was aware of those premises and facilitated the task. It essentially wanted to create places of interaction, multi-use spaces and a small collection of venues for the development of activities (a concert hall, a theatre, an assembly hall…).

▼建筑内院入口，The Entrance of the court yard

内院展现了其开阔和多变的格局，同时起到补充开放空间和流通室内外空气的作用。这些院子作为建筑外部容易接触的空间，缓解了建筑的封闭不透气，给人进入室内以缓和，加深了对空间的理解。

The interior courtyards shape the vast and diverse program. They are also an opportunity to recover open spaces and to allow the indoors and outdoors flow. The building is still very hermetic towards the exterior, but these courts offer a friendly and accessible face. They mean the antechamber, the place of approach, the possibility of understanding.

▼兼具功能性与美感设计的内院，The functional and beautiful design of courtyard

整栋建筑连贯统一。遗存下来的建筑框架被修缮和重新粉刷成同种风格的外貌，附加部分全部漆成白色。没有过多的修饰，历史痕迹全部烙印在其本身。

A common language unified the whole building. The original structures which had survived were recovered and liberated of superposed coats of paint, achieving a homogeneous and continuous canvas. The additions were painted white and we let the elevations tell us their own history.

▼新旧建筑部分的衔接，Combination of the new and the old parts

▼新建部分的留白处理，The remaining blank

▼入口设计，The Entrance

重修工程包括两部分的改造，在北部的改造中，可以看到其内部结构已被大面积更改，将不太灵活的空间：档案室，报刊阅览室，图书馆，天文台和当代艺术美术馆重新组织安置在建筑内部。

The intervention consisted of two phases.The first phase took place in the northern area, where the original container had been extensively transformed throughout the last years. It reorganized less freely the existing institutions, such as the Archives, the Newspaper Library, the Library, the Observatory and the Museum of Contemporary Art.

▼展厅设计，The Exhibition space

▼窗口设计，The Windows

▼通道设计，The cross

在南部的改造中，你可以看到最真实的建筑原貌：展览大厅，一系列被小空间隔开的封闭空间阻隔了交流通道。一些独特的功能区，音乐厅，剧院，集会大厅组成了建筑独有的氛围，并给予其每一层连接环境不同独有的格调。

The second one took place in the southern area of the building, where the original architecture shows the most authenticity, which houses halls for exhibitions and shows. A sequence of big rooms is only altered by small blind boxes that hide the new communication passages. The unique pieces, like the Concert Hall, the Theatre and the Assembly Hall, generate its own ambiance and give its own touch to each environment.

▼会议大厅，The Assembly Hall

其中最大的空间由最简单的处理方式布置：维持建筑构架原貌，移除一切附加的修饰，从而可以预留出更多的空间来满足未来新的空间组成部分。

The powerful space called for an obvious solution: to maintain the skeleton, to remove additions and to concentrate the new interventions. The aim was to achieve a big neutral container where new timeless objects and specific elements could be situated.

这次以维持原貌，包括门楣和飞檐，为原则的整修，仅在建筑转角的凹陷处表现了细微差别。其韵律的反复，原始比例的还原，木艺和铁艺的混搭，完美组织了建筑内部构造，协调了室内外温度控制。

If the surfaces, including lintels and cornices, are the base of this discourse, it is the hollows what provide the nuances. Perfectly ordered, with a repetitive rhythm, now it recovers the vertical proportion, and it is dressed with a mixed carpentry of iron and wood that minimizes the impact from the exterior without subtracting warmth to the interior.

一些无装饰中殿内景图展示了其整洁质朴的内部空间：砖砌的拱结构搭在花岗岩石柱上，柱子按比例排开，横梁由铆钉固定，立方转平铺中殿地面。

The first images of its naked interior were open naves of brick arches on granite pillars and at other levels, wrought columns and riveted beams. Clean and austere spaces covered with solid brick structures.

▼建造阶段的中殿内景图，Naked interior

▼底层平面，the ground floor

▼一层平面，the first floor

▼二层平面，the second floor

▼地下室平面，the basement

▼建筑正立面，The Elevation

▼通道剖面，The Cross section

$R:\carpeta de TRABAJO\Carpeta ESTUDIO\Carpeta de PROYECTOS\AÑO 20077-008 CONDE DUQUE\LIBRO OBRAS CONDE DUQUE\doc grafica inci$

▼纵向剖面，Longitudinal section

$R:\carpeta de TRABAJO\Carpeta ESTUDIO\Carpeta de PROYECTOS\AÑO 20077-008 CONDE DUQUE\LIBRO OBRAS CONDE DUQUE\doc grafica inci$

▼集会大厅剖面，Assembly Hall section

$R:\carpeta de TRABAJO\Carpeta ESTUDIO\Carpeta de PROYECTOS\A$

▼图书馆剖面，The Library section

▼瞭望台剖面，The Observatory section

▼报刊阅览室剖面，City Newspaper Library

▼报刊阅览室剖面，City Newspaper Library

▼档案室剖面，City Archive section

▼档案室剖面，City Archive section

▼轴侧结构图，The Axonom

Architects:Carlos de Riaño Lozano
Collaborators:Almudena Peralta Quintana,Rebeca Hurtado Díaz
Technical architects:María del Hierro,Luis García Cebadera
Promoter:Ayuntamiento de Madrid,Área de Las Artes
Coordinación de proyecto y obra
Juan José Echeverría Jiménez. Coordinador General de Patrimonio Cultural
Carmen Rojas Cerro. Directora General de Patrimonio Histórico
Supervisión y seguimiento: Dirección General de Patrimonio Histórico
María José Rodríguez Relaño, arquitecta supervisora
Pepa Ávila Serrano, arquitecta supervisora
Javier Aguilera Rojas, arquitecto supervisor
Location:Calle Conde Duque s/n, Madrid
Area:29.262 m2
Structure:OTEP INTERNACIONAL
Engineering facilities:JG Instalaciones / Alvaro Zamora
Constructor:EDHINOR, U.T.E. F. MOLINA – GEOCISA, PECSA, F. MOLINA, CPA y VIAS
Lighting:INTERVENTO

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Carlos de Riaño Lozano

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