項(xiàng)目地址：墨西哥，普埃布拉

施工開(kāi)始時(shí)間：2014年9月開(kāi)館時(shí)間：2016年2月4日

用地面積：5公頃，位于城市公園內(nèi)

建筑面積： 18 149m2

建筑師：伊東豐雄及合伙人事務(wù)所

當(dāng)?shù)亟ㄖ煟篎ederico Bautista Alonso

結(jié)構(gòu)工程師：SAPS (Mutsuro Sasaki, Toshiaki Kimura),

SC3 (Ing. Ernesto Lira)

景觀設(shè)計(jì)：Tada Arquitectos (Antonio Cesar López Willars)

家具設(shè)計(jì)：Fujie Kazuko工作室

普埃布拉是墨西哥第四大城市，擁有常住人口2 850 000人，聯(lián)合國(guó)教科文組織于1987年將其列為世界文化遺產(chǎn)，而墨西哥巴洛克國(guó)際博物館（MIB）正位于這樣一座歷史文化名城。巴洛克藝術(shù)被譽(yù)為首個(gè)風(fēng)行全球的藝術(shù)形式，巴洛克國(guó)際博物館將向全世界展示該藝術(shù)。

用一言半語(yǔ)去定義巴洛克藝術(shù)并非易事。從藝術(shù)史角度來(lái)看，巴洛克藝術(shù)是一種試圖打破文藝復(fù)興時(shí)期教條的藝術(shù)風(fēng)格，同時(shí)也是一種集宗教、思想及政治為一體的反宗教改革運(yùn)動(dòng)。從地理學(xué)角度來(lái)看，巴洛克藝術(shù)因大航海時(shí)代的到來(lái)而得以傳遍世界，而從社會(huì)層面而言，巴洛克藝術(shù)更是一種資產(chǎn)階級(jí)與平民共享的藝術(shù)。巴洛克藝術(shù)涵蓋如繪畫、雕塑、建筑、音樂(lè)、戲劇、文學(xué)、美食、時(shí)尚等所有藝術(shù)領(lǐng)域，是一種由情感驅(qū)動(dòng)的藝術(shù)，因而人們難以從理論或理性角度理解巴洛克藝術(shù)，唯有親身感受才能體會(huì)個(gè)中真意。

綜上所述，我們?yōu)椴┪镳^設(shè)計(jì)制定以下三條指導(dǎo)原則：

1.“剛中帶柔，賦予剛性空間流動(dòng)感”

一直以來(lái)城市與當(dāng)代建筑都與自然脫離，人們企圖通過(guò)設(shè)立屏障和隔絕外部環(huán)境達(dá)到控制內(nèi)部環(huán)境的目的。在建筑人本論的指導(dǎo)下，建筑具有嚴(yán)格的功能分區(qū)。巴洛克運(yùn)動(dòng)打破了文藝復(fù)興時(shí)期以人類為宇宙中心這一觀點(diǎn)，進(jìn)一步探討上帝與人的關(guān)系，慮及此，不難發(fā)現(xiàn)現(xiàn)今我們生活的時(shí)代也出現(xiàn)同樣的趨勢(shì)：尋求人與自然的關(guān)系。這將是本世紀(jì)最重要的議題。在巴洛克國(guó)際博物館的設(shè)計(jì)中，我們力圖打破及消融冰冷生硬的分界，創(chuàng)造出流動(dòng)性空間。我們希望人們穿行于不同房間時(shí)也能體驗(yàn)到巴洛克式空間。

2. “美麗的光線”

在巴洛克藝術(shù)中，光線象征神的啟示，與內(nèi)心的矛盾陰暗面抗?fàn)?。在該?xiàng)目中，光線同樣具有特殊的意義。乍一看，建筑的平面如同迷宮一般，實(shí)則每間房間都通過(guò)圓頂天窗與下一間房間相連，猶如一串念珠。游客可跟隨光線的指引到達(dá)下一間房間，而不會(huì)迷路。射入各采光井的光線量因房間的需求而異。游客也可以感受到從天空中灑落的光，仿佛人正在與自然對(duì)話。

3.“生態(tài)機(jī)制與環(huán)境保護(hù)”

博物館位于San Andrés de Cholula和普埃布拉市郊區(qū)的大都會(huì)公園中。該公園北面是巴洛克國(guó)際博物館，南面是阿托亞克河。Malinche山的雨水注入阿托亞克河。大都會(huì)公園于2012年開(kāi)放，園內(nèi)設(shè)有多個(gè)以人與自然共生為主題的項(xiàng)目。例如凈化阿托亞克河的實(shí)驗(yàn)性生物系統(tǒng)，種植從植物非法走私中查獲的仙人掌。市民可在漫步公園的同時(shí)加深對(duì)環(huán)境的理解。我們希望在博物館中創(chuàng)造類似的人與自然關(guān)系。博物館引入采光井和流動(dòng)空間的設(shè)計(jì)理念不僅體現(xiàn)巴洛克藝術(shù)，而且強(qiáng)調(diào)人與自然的對(duì)話，技術(shù)手段的運(yùn)用令這一特點(diǎn)更為突出。普埃布拉全年氣候穩(wěn)定，憑借這一優(yōu)勢(shì)，博物館采用利用外部空氣（自然冷卻）的方式減少能源負(fù)荷。在被水泥高墻包圍的建筑中為博物館設(shè)計(jì)若干大小適宜的通風(fēng)口。為建立巴洛克國(guó)際博物館與大都會(huì)公園之間的視覺(jué)聯(lián)系，入口附近的湖面被設(shè)計(jì)為一片淺淺的水景，延伸至公園內(nèi)部則成為一汪天然池塘。我們希望后者周圍能長(zhǎng)滿自然生長(zhǎng)的水生植被 。此外，建筑能夠收集污水和雨水，在經(jīng)過(guò)凈化處理后形成循環(huán)，先注入淺水區(qū)及天然池塘，進(jìn)而注入阿托亞克河，有助于河水凈化。

從概念上講，我們希望巴洛克國(guó)際博物館如泉水般從地面漸漸涌出成型。

Museo Internacional del Barroco (MIB) is located in the city of Puebla, the fourth largest city in Mexico (2 850 000 inhabitants), and it is listed as a World Heritage Site by Unesco in 1987.This museum will introduce Baroque Art on a global level, which was considered the fi rst style of art that was spread internationally.

It is very diきcult to de fi ne Baroque Art with a single word. In terms of history of art, it is a style that wanted to break the strict rules imposed by Renaissance; it also emerged as a Counter-Reformation that combined religious, intellectual and political movements. In terms of geography, Baroque Art spread internationally due to the Age of Discovery; while socially it was developed to be enjoyed by both the bourgeoisie and the commoners. Baroque Art encompasses all the arts: painting, sculpture, architecture, music, theatre, literature, cuisine,fashion, etc; it is an art driven by sentiment. Therefore, it is very diきcult to be understood in a theoretical or rational manner; to the extent that it is a feeling that must be experienced.

Thinking about all this, we set three guidelines for the design of the museum:

1. “Starting with a rigid order, this can be dissolved creating an out fl ow. The resulting space gives the impression of fl uidity”

Cities and contemporary architecture has been turning away from nature and attempting to control the inside by putting up barriers and driving out the exterior. This anthropocentric philosophy in architecture results in a functional grid. If we consider the Baroque movement, which broke the Renaissance vision of man as the centre of the universe, and moved on to a relationship between God and man, a similar trend is now produced in the era we live in: the search for the relationship of people with nature. This search will be one of the most important issues of this century. In the MIB we try to break and dissolve the cold and rigid order to achieve fl uid spaces. We hope that when people move from one room to another, they experience a Baroque space.

2. “Beautiful Light”

In Baroque art light symbolizes a revelation from God opposing the darkness of ambivalence. In this project, light also acquires a special meaning. In plan which at fi rst glance looks like a maze, we see that each room is connected to the next by a light dome that joins them like rosary beads. The visitors can follow the light stream and into the next room without losing their way. The amount of light entering each patio varies according to the requirements for the adjacent rooms. Visitors can experience the light that literally falls from the sky, as if a dialogue between man and nature is taking place.

3. “Ecological mechanism and care of the environment”

The site of the museum is in the Metropolitan Park, on the outskirts of the municipalities of San Andrés de Cholula and Puebla. This park is bound by MIB on the North, and the Atoyac River on the south,which collects rainwater coming from the Malinche Mountain. Opened in 2012, the park has devised programs that focused on interactions between human and nature. For example experimental biological systems that purifies the Atoyac River, and the planting of Cacti that were seized in illegal plant traきcking. Citizens can wander around this pleasant park while deepening their understanding of the environment. We want to create a similar relationship to nature in the museum. The idea of a museum with light wells and fl uid spaces that exhibit Baroque art, emphasizing the dialogue between nature and man is complemented by a technological proposal. Puebla has a virtually constant climate throughout the seasons. Taking advantage of this, the museum uses a system that utilises outside air (free-cooling)to reduce energy load. In a building surrounded by tall concrete walls optimum sized openings were designed for the museum.

To create a transition between the MIB and the Metropolitan Park, the lake is designed as a shallow fi lm of water in areas near the entrance, and as a natural pond the further we advance into the park. In the latter area we anticipate a natural growth of aquatic vegetation around the edges of the lake. Moreover,the building collects sewage and rainwater, and once it is treated and passed through a cleaning process, it forms a circuit that feeds into the shallow fi lm of water and the natural pond and from there on to the Atoyac River, contributing to its cleansing.

Conceptually we want the building to “sprout from the earth like spring water and grow.”