建設單位：秘魯天主教大學

設計單位：隆吉建筑師事務所

主持設計師：路易斯·隆吉

設計團隊：Veronica Schereibeis,Carla Tamariz,Christian B?ttger

施工單位：Héctor Suasnabar

監(jiān)理：隆吉建筑師事務所

攝影：Mayu Mohanna,Miguel Carrillo,Cecilia Larrabure,路易斯·隆吉

Client:Catholic University of Peru

Architect:Longhi Architects

Principal in charge:Luis Longhi

Project Team:Veronica Schereibeis,Carla Tamariz,Christian B?ttger

Construction:Héctor Suasnabar

Supervision:Longhi Architects

Photography:Mayu Mohanna,Miguel Carrillo,Cecilia Larrabure,Luis Longhi

對話這位受傷的“長者”

建筑并不僅僅是建筑師與客戶之間需求溝通的結(jié)果，而是設計者基于現(xiàn)實所建立的一種形而上的抽象對話。這種深層意義上的對話，就像你面對一個能言善辯卻始終保持沉默的對話者，需要你擁有足夠的敏感度去感知他默不做聲卻渴望被了解的內(nèi)心。你必須用心去理解它，體會它，向他們展示你的同理心。

在用自然做為媒介進行終極創(chuàng)造時，最大的挑戰(zhàn)是要維持它本來的平衡，基于這個理念盡可能地去尊重它的創(chuàng)造本心。幾個世紀以前，人們從印加人那里學到了造物的真理，并超越其效打造了屬于人類特有的風景線。

另一方面，你需要理解并聆聽它的建造之美、與之契合，才能將這些理念完美地融入人類的建筑之中。即使是曾經(jīng)做為間接沖突受害者的利馬市立劇院也不例外。

1998 年，這名“長者”在遭受大火的洗禮后，卻依舊渴望涅槃重生。作為秘魯首都最重要的舞臺，他必須要以往日的姿態(tài)再次站立起來。

他還未愈合的傷口雖然還需要小心呵護，但此時他需要的并不是同情。在舞臺之上，被撕開了一個巨大的口子。天花板和舞臺都已不復存在，但是眾多藝術(shù)家們的藝術(shù)過往仍然在此間壁上回響，于是有人提議在這個空間的斜道上繼續(xù)表演?？赡苁沁@樣的想法在冥冥之中得到了認同，讓我們在這座建筑物斜坡的盡頭發(fā)現(xiàn)了一扇用磚砌成的門。這曾是演員們進出劇院的路經(jīng)之處。

坡道上的金屬管和金屬網(wǎng)成為了不同于以往演出的新鮮元素，既為公眾提供了安全保障，也融入場景，成為了場景的一部分。歷史與真知往往相輔相成。

在這里上演的第一部作品是《李爾王》，在坡道、雅座和包廂間穿梭進行的表演，讓整個舞臺空間呈現(xiàn)出一種立體感。

《浮士德》的場景需要一座橋和一個表演平臺和一個巨大的圍擋，圍擋是用劇院的瓦礫堆砌而成的。而《奧賽羅》則要需要搭建立一個平臺，以及確定一個與表演主線平行的故事表現(xiàn)空間。“音樂劇”是一個例外，因為要讓公眾站在過去的舞臺上，而表演則在另一個布滿了薄紗的房間里進行，滿屋覆蓋的薄紗象征著保護傷者傷疤的紗布，使整個劇場空間貫穿表演始終。

In dialogue with the injured

Architecture does not arise from the mere human conversation between the client and the architect but from the metaphysical dialogue that the designer establishes with the reality in which he has to intervene.A dialogue in the deepest sense of the word,as it requires you to show sensitivity with an eloquent but silent interlocutor.You must understand and interpret it,demonstrate what they call empathy.

When the medium is Nature,the ultimate creation,the challenge is to find how to intervene without disturbing it,how to honor it with an object foreign to it.Centuries ago,the Incas gave the guideline of how human creation can exceed its usefulness and come to belong to a landscape.

On the other hand,intervening in a man-made building means listening to it,understanding it,meeting its demands and enhancing its virtues.Even when it comes to spaces victimized by a circumstantial conflict such as the Municipal Theater of Lima.

This "old man" wanted to return to activity one year after being killed by fire in 1998.He had to be helped to stand up with the dignity that the capital's most important stage deserved.

His still open wounds required attention,moved,but he did not want compassion.Where his stage was,there was a huge void in the open air.The ceiling and the stage had disappeared,but the energy of all the artists who had passed through it remained in its walls,so it was proposed that this space be performed on a ramp.As a sign of their approval of our idea,the building let us discover a bricked-up door in the wall at the point where the ramp headed.It was the pass that was needed for the entrance and exit of the actors.

The metal tubes and mesh of the ramp were the vocabulary of the added elements,both those that offered security to the public and those that were part of the scenography.The energy and the history of the true materials were always the allies.

The first work mounted was "King Lear." The performance took place both on the ramp and on the surface of the stalls and boxes,with which the stage space took on a threedimensional character.

"Faust" required a bridge,a platform and a gigantic skirt made from the rubble of the theater."Othello" demanded to build new platforms and define spaces in which events parallel to the main action would take place."The musical" was a peculiar case,since the public stood on the old stage and the performance took place in a room,which was covered with fabrics that symbolized the gauze that protect the wounded man's scars and that involved the entire theater space on the action.

七年后，這樣的改變一直持續(xù)著，并一再被要求用于其他用途，有些甚至是與文化藝術(shù)無關的用途。但從一個側(cè)面也反應出它不俗的實力和地位。因為這些不僅僅是為臨時戲劇而準備的臨時場景。

Seven years later,the interventions persist and are repeatedly requested for other uses,even other than cultural ones.This confirms its potency and its belonging to the site.They are much more than pertinent incidental sets mounted for temporary plays.