建筑設(shè)計(jì)：伊薩克·布羅伊德 + PRODUCTORA

1 外景/Exterior view

2 透視圖/Perspective diagram

新文化中心的項(xiàng)目選址在特奧潘索爾科考古區(qū)對(duì)面的一處基地上，場(chǎng)地條件引發(fā)了兩種基本策略：一方面是加強(qiáng)和考古區(qū)之間的聯(lián)系，另一方面是激發(fā)重要的公共場(chǎng)所。

這棟建筑圍繞著兩個(gè)主要元素進(jìn)行組織：一個(gè)是包含了公共功能的三角形建筑（大廳、服務(wù)區(qū)、售票處、衣帽間和報(bào)告廳），另一個(gè)是三角形建筑周圍的平臺(tái)，包括了工作人員的工作區(qū)（更衣室、儲(chǔ)藏室、工作室等），還有一個(gè)多功能用途的小型黑盒劇場(chǎng)。

三角形建筑周圍的平臺(tái)是作為眺望考古區(qū)和城市的觀景臺(tái)。這個(gè)巨大的底座包括了一系列露臺(tái)，其中一個(gè)面向禮堂的次要入口，已沉入地下形成一個(gè)小型露天劇場(chǎng)。該平臺(tái)創(chuàng)造出多種多樣的外部空間，并解決了通往禮堂內(nèi)部或平臺(tái)本身的次要入口，同時(shí)也把基地現(xiàn)有的大樹囊括了進(jìn)去。

同時(shí)，主要的三角形大屋頂包括一個(gè)大型階梯坡道，與環(huán)繞屋頂?shù)乃狡脚_(tái)相交而出，大大消弭了新建筑物的實(shí)體存在感和視覺沖擊，并將屋頂本身轉(zhuǎn)化為以考古區(qū)為背景的另一個(gè)露天禮堂。巨大的三角形廣場(chǎng)形成了禮堂正廳的屋頂，并包含另一個(gè)較小的三角形廣場(chǎng)，反過來又形成了主大廳的屋頂。兩個(gè)平臺(tái)朝相反的方向傾斜，在不同角度觀看時(shí)形成了“橫看成嶺側(cè)成峰”的視覺互動(dòng)。主大廳是一個(gè)半開放式空間，具有精心設(shè)計(jì)定位的用于對(duì)流通風(fēng)的孔，從而避免了電力空調(diào)系統(tǒng)的使用。入口空間的三角形平面構(gòu)成的軸線被刻意設(shè)計(jì)成與金字塔的主軸線對(duì)齊。因此，位于金字塔對(duì)面的大廳成為活動(dòng)發(fā)生前后的視覺焦點(diǎn)和聚會(huì)場(chǎng)所，也建立了一個(gè)在當(dāng)代文化生活與過去之間持續(xù)對(duì)話的空間。□（徐紫儀 譯）

The project for the new Cultural Centre is located on a site opposite the archaeological zone of Teopanzolco, a situation that proposes two fundamental strategies: on the one hand to enhance the relationship with the archaeological site and on the other to generate a significant public space.

The building is organised around two elements, a triangular building that contains the public programmes (lobbies, services, box office, cloakroom, auditorium) and the platform surrounding it that contains the operation zones(dressing rooms, storage, workshops, etc.), including a multipurpose black box theatre.

The horizontal platform surrounding the triangular building serves as a viewing area for the archeological zone and towards the city. This grand plinth contains a series of patios, one of which,facing the secondary entrance to the auditorium, has been sunk into the ground to create a small open-air theatrical space. This platform generates a variety of exterior spaces and resolves the secondary accesses to the interior of the auditorium or to the platform itself, while incorporating the existing large trees.

Meanwhile, the main triangular-shaped roof comprises a large stepped ramp that emerges from the intersection with the horizontal platform that surrounds it and substantially reduces the physical presence and visual impact of the new building, as well as converting the roof itself into an additional open-air auditorium, which has the archaeological site as a backdrop. This great triangular esplanade forms the roof of the auditorium's main hall, and contains another, smaller triangular esplanade that in turn forms the roof of the main lobby.Both platforms descend in opposite directions and create a visual interplay of inclined planes that can be appreciated from different points of the building. The main lobby is a semi-open space with strategically located apertures permitting cross-ventilation, avoiding the use of electrical air conditioning systems. The axis of composition of the triangular floor plan of the entrance level was deliberately aligned with the main pyramid. As a result, the lobby placed exactly opposite the pyramid becomes a viewpoint and a space for meeting before or after events, and a space that establishes an ongoing dialogue with contemporary cultural life and the presence of the past.□

3 外景/Exterior view

項(xiàng)目信息/Credits and Data

客戶/Client: Secretary of Culture of the Morelos State (Cristina Faesler)

地點(diǎn)/Location: Cuernavaca, Morelos State, Mexico

建筑師/Architects: Isaac Broid + PRODUCTORA (Carlos Bedoya, Víctor Jaime,Wonne Ickx, Abel Perles)

合作者/Collaborators: Gerardo Galicia, Pamela Martinez, Josue Palma, Alonso Sanchez, Rosalía Yuste, Antonio Espinoza, Diego Velazquez, Gerardo Aguilar, Lucrecia Sodo, Jesús Minor, Juan Pablo Perez, Oswaldo Delgadillo, Mariana Toro, Valeria Alvarado, Eitan Vazquez

施工/Construction: Veltormart

結(jié)構(gòu)工程/Structural Engineering: Colinas del Buen (Efren Franco y Selene Cortes)

技術(shù)工程/Technical Engineering: Taller M2 (Jose Madrid)

劇院顧問/Theatre Consultant: Alejandro Luna e Itzel Alba

聲學(xué)顧問/Acoustic Consultant: Cristian Ezcurdia y ARUP (Jaume Soler)

照明設(shè)計(jì)/Lighting Design: Luz y Forma (Luis Lozoya)

生物氣候?qū)W顧問/Bioclimatic Consultant: Bioarquitectura (Gerardo Velazquez Flores)

功能/Programme: 文化基礎(chǔ)設(shè)施/Cultural Infrastructure

材料及結(jié)構(gòu)/Material and Structure: 彩色混凝土/Coloured concrete

建筑面積/Floor Area: 7000m2

造價(jià)/Cost: 10,500,000 USD

設(shè)計(jì)開始時(shí)間/Design Start Time: 2014.10

建造時(shí)間/Construction Time: 2015.12-2017.07

繪圖/Drawings: Isaac Broid + PRODUCTORA (Carlos Bedoya, Víctor Jaime,Wonne Ickx, Abel Perles)

攝影/Photos: Jaime Navarro (fig. 1,3,6,9,12,13,16-19), Onnis Luque (fig. 7,10)

4 總平面/Site plan

5.6 外景/Exterior views

7 頂層平面/Upper floor plan

8 底層平面/Lower floor plan

9.10 鳥瞰/Aerial views

11 剖面/Section

12.13 外景/Exterior views

14.15 立面/Elevations

評(píng)論

裴釗：幾年前在墨西哥城PRODUCTORA的工作室里，Wonne介紹這個(gè)項(xiàng)目時(shí)說道，這個(gè)建筑周邊全部是低收入社區(qū)（貧民窟），他認(rèn)為這是一個(gè)介入型建筑，和他們?cè)O(shè)計(jì)的移動(dòng)書亭和臨時(shí)市場(chǎng)一樣，都是一種介入城市和社區(qū)的設(shè)計(jì)。但對(duì)于PRODUCTORA，我一直感興趣的是，他們?nèi)绾慰创约簶O簡(jiǎn)形式的作品被安置在拉美和墨西哥的景觀中，因?yàn)?0世紀(jì)的墨西哥建筑師們幾乎嘗試了一切方法，以便清晰傳達(dá)建筑中的信息給公眾，從國際風(fēng)格到傳統(tǒng)地域，但都不是很成功。也許在拉美鮮明多元和各具特色的文化中，PRODUCTORA普適的極簡(jiǎn)語言是一種以不變應(yīng)萬變的聰明做法；然而在他們的作品中，還可以發(fā)現(xiàn)其干凈簡(jiǎn)潔的形式下隱藏著深深的歐洲古典建筑韻味。

莫妮卡·阿雷利亞諾：特奧盤索爾科文化中心的功能設(shè)計(jì)是建立在深度思考之上的。項(xiàng)目的主要設(shè)計(jì)策略在于創(chuàng)建一座劇場(chǎng)，并與此同時(shí)，將其作為一片重要的有頂空間，從內(nèi)部向外形成朝向考古區(qū)域的框景效果，以促成一種不同歷史時(shí)刻面對(duì)面空間的對(duì)話。這種對(duì)話不僅體現(xiàn)在室內(nèi)，也體現(xiàn)在室外的一系列臺(tái)階上，它們延伸了眺望的視野，并以其光影變化捕捉太陽的軌跡，正如那些前西班牙時(shí)期的建筑一樣。（龐凌波 譯）

Comments

PEI Zhao: A few years ago in the studio of PRODUCTORA in Mexico City, said Wonne when introducing this project, the building is surrounded by low-income communities (slums). He thinks it is an interventional building, just like the mobile bookstand and temporary market they designed, a design involving cities and communities. But for PRODUCTORA, what I have always been interested in is how they view their minimalist-form works placed in the landscapes of Latin America and Mexico, because Mexican architects of the last century have tried almost everything in order to clearly convey the architecture information to the public, from internationalism to traditional regionality, but was not very successful. Perhaps in Latin America's distinctive and diverse cultures,PRODUCTORA's universal minimalist language is a clever way of constant change; however, in their works, a deep European classic architectural charm can also be found hidden in its clean and concise form. (Translated by XU Ziyi)

Monica Arellano: Contemplation is one of the fundamental activities that take place within the programme of the Teopanzolco Cultural Centre. The main design gestures of the project focused on creating a hall that at the same time functions as a covered and significant space that frames the image from the inside to the archaeological zone, generating a space of dialogue face to face between different moments of history.This dialogue is translated both inside and outside that displays a series of stairways that extend the gaze towards the horizon and whose shadow casts the solar path, just as it happened in pre-Hispanic constructions.

16-19 內(nèi)景/Interior views