The museum is conceived to house an art collection from the fifties seventies, already stablished and defined, fr o m the Spanish artist E. Sempere that was donated to the city. The collection consists on his own work as well as pieces from other contemporary artists. Its situation in the city center of Alicante, with d ecisive a s pects such as a big difference in street levels, a certain language of the surrounding architecture, its context or the orientation, provide with a certain atmosphere, with the presence of the castle uphill, the sea horizon, the proximity of a small square and the Santa María Church up front. These are the starting points fo r the proposal.
Specifically, both the world of plastic and perceptive references and the context of the city center of Alicante, suggest a prior way of understanding and developing the project, both in the layout and in the spatial or perceptive solutio ns. The use of stone, travertine form Tívoli, with a wall language, relates to the conventual language of the Santa María Church and the old city, as well integrating in a single volume the pre existing building of the Asegurada Museum, which is restored to house the ancillary uses to the exhibition.
This monolithic volume, relating to the city and its point of view, contrasts with a piece in serigraph glass, that speaks of the hill and the skies and creates games of perception, using a language of the kinetic art of the fifties sixties, with the use of a serigraph mirror, which moves in a kinetic manner.
The exhibition space within the building is framed by the diaphanous and continuous light from the north, that values three different spaces/exhibiti ons: a first continuous horizontal level with vertical compressions and expansions. A second level of crossing rooms related to the vertical expansions. Finally, the top floor a horizontal space that oppose the syncopated vertical and horizontal spaces. T his room binds the three courtyards black, white and golden with three optical games similar to those produced by the kinetic artists of the sixtie s taken to the space outside with its changes in scale and in place references. The perceptive experienc e contrasts with the neutral space, with the northern light that is necessary for an exhibition use.
