西班牙,科尔多瓦,当代艺术中心 / Nieto Sobejano Arquitectos

建筑师: Nieto Sobejano Arquitectos

地点:西班牙科尔多瓦

主管合伙人:Fuensanta Nieto – Enrique Sobejano

照明立面:Nieto Sobejano Arquitectos, in cooperation with realities:united

项目建筑师:Vanesa Manrique

合作方:Sebastián Sasse, Beat Steuri, Carlos Ballesteros, Mauro Herrero, Bart de Beer, Alexandra Sobral, Juan Carlos Redondo, Rocío Domínguez, Nik Wenzke, Gilta Koch, Jesús Gijón

年份:2013

摄影: Roland Halbe, Fernando Alda

现场监理:Nieto Sobejano Arquitectos, S.L.P. Fuensanta Nieto – Enrique Sobejano; Miguel Mesas Izquierdo, Technical Architect

项目结构顾问:N.B.35, S.L.

施工结构顾问:IDI Ingenieros, S.L.

机械工程:R. Úrculo Ingenieros Consultores, S.A. ; Arkilum S.L. (Illumination)

防火顾问:3i Ingeniería Industrial, S.L.

照明顾问:Iluminación Lledó, S.A.

模型制作:Nieto Sobejano Arquitectos, S.L.P. ; Juan de Dios Hernández – Jesús Rey

施工公司:FCC, S.A.

客户:Government of Andalucia

建筑设计不断地从隐藏在我们记忆之中的图像,以及轮廓变得愈发鲜明、清晰而又出人意料的构思当中获得滋养,这也标志着一个项目的开始。西班牙伊斯兰文化依旧潜藏于科尔多瓦,也许这就是为什么与该文化产生的共鸣已经在无形中阐释了比我们设计提案的附注更多的内容。文明程度的全球化发展已体现在生活的方方面面,面对着这种同质化趋势,当代艺术中心致力于诠释与众不同的西方文化,努力超越这种如此频繁出现的陈词滥调一般的表现方式。

我们对如今常用的缺乏特色的通用集装箱所谓的有效性和灵活性持质疑态度,这种想法将建筑的形象与一个场所或一段久远的记忆紧密联系起来,在这里,每个空间都是单独形成的;或者与一段时期联系起来,这一时期不但能够自我转变,还能扩展不同的尺寸、用途与空间质量。我们一直对于隐含的几何法则充满了仰慕之情,在遥远的过去,伊斯兰的艺术家、工匠和主要建筑商就能够运用这一法则在清真寺内打造多种多样的各项同性空间,清真寺中总是带着拱顶结构和突角拱窗,以及花格窗、铺砌和ataurique装饰(一种阿拉伯式花纹)等多种装饰主题,或是隐含在伊斯兰传统诗歌与传说中的规则和叙事节奏。

正如这些文学作品结构一环扣一环,环环相扣,如同一个永远没有结局的故事,我们也以启动一个系统的方式来构思项目,这是由重复的几何图形生成的设计规则,几何图形主要为六角形,其中包含三个不同类型的房间,面积分别为150平方米、90平方米和60平方米。这三个领域的排列就像一个组合游戏,形成了不同的空间序列,也许能从中诞生一个单独的展区。

一楼的艺术家工作坊和二楼的实验室都与展厅毗邻,在这一点上并没有严格的区别:艺术作品可以在工作坊展示,而展厅也可以当作艺术品制作区域。大黑盒子一般的会场设计为舞台造型,适合进行戏剧制作、召开会议、放映电影,甚至是举办视听展览等各种活动。

这座当代艺术中心并不是以中央为焦点的有机体系:其中心从一个区域移动到另一个区域,它无处不在。这是一系列连接着公共走道的房间,而公共走道将建筑的不同功能汇集到了一起。这里是用于展览和思想交流的公共区域,既是交通要道,也是聚会场所,人们可以在这里观看装置作品、欣赏展览、喝一杯咖啡、使用媒体中心、在黑盒子里等待展览开始,或者也许只是注视着瓜达尔基维尔河的水面。

在整个项目之中充斥着艺术工厂的特质,而材料的运用更有助于凸显这一特质。室内的混凝土墙壁、混凝土板和连续的混凝土地面,无不营造了一个能够利用不同的干预形式单独转化的空间。电子、数码、音频和照明等各种设施编织成了一张网,处处都能创建出多样化的景色与联系。

从外部看,建筑物着意以一种材料来进行自我表现:GRC预制板,这种面板同时覆盖了立面的透明和穿孔区域,或者弥补了大厅平屋顶或坡屋顶的不足。工业化的系统概念以及不可渗透的条件、材料的绝缘与轻质性能,不但有助于确保施工的精确度与合理性,还在管控整个项目的组合概念之中扮演着重要的角色。

在面对着河流的一侧立面上,覆盖着一张真正的面具,主导了建筑的这个外立面,立面经过设计成了一个带着几个多边形洞口的屏风,其后方为LED式的单色地图。使用合适的计算机程序,视频信号将生成图像和文本,倒映在河面上,这些装置仿佛是为这个场所量身定制的一般。在白天,自然光线将滤过穿孔,也穿透内部的带顶人行通道。

在当代艺术中心,艺术家、游客、专家、研究人员和公众的会面方式与当代祖克乐的音乐特色相似,并没有明显的空间层次划分。这将是一个富有创造性的艺术创作过程中心,密切联系建筑空间与公众空间:建筑如同一个开放式实验室,试图在其设计过程中激发新的表达方式。最近有一些艺术设计方式利用了最新技术,似乎与物质性渐行渐远,将其自身淹没在虚拟世界里,脱离了具体的存在,这种诠释方式目前已成为主流。不过也许正是通过对这种设计方式的否定,我们确定了建筑本身、瓜达尔基维尔河、科尔多瓦的现在与过去,都将不仅是一种偶然,而将成为一种对话、协议,抑或是拒绝重复的起点。不正是这些情感在鼓舞人们不断探索所有的艺术表现方式吗?


Architects: Nieto Sobejano Arquitectos

Location: Córdoba, Spain

Partners In Charge: Fuensanta Nieto – Enrique Sobejano

Communicative Lighting Façade: Nieto Sobejano Arquitectos, in cooperation with realities:united

Project Architect: Vanesa Manrique

Collaborators: Sebastián Sasse, Beat Steuri, Carlos Ballesteros, Mauro Herrero, Bart de Beer, Alexandra Sobral, Juan Carlos Redondo, Rocío Domínguez, Nik Wenzke, Gilta Koch, Jesús Gijón

Year: 2013

Photographs: Roland Halbe, Fernando Alda

Site Supervision: Nieto Sobejano Arquitectos, S.L.P. Fuensanta Nieto – Enrique Sobejano; Miguel Mesas Izquierdo, Technical Architect

Project Structure Consultant: N.B.35, S.L.

Construction Work Structure Consultant: IDI Ingenieros, S.L.

Mechanical Engineering: R. Úrculo Ingenieros Consultores, S.A. ; Arkilum S.L. (Illumination)

Fire Prevention Consultant: 3i Ingeniería Industrial, S.L.

Lighting Consultant: Iluminación Lledó, S.A.

Models: Nieto Sobejano Arquitectos, S.L.P. ; Juan de Dios Hernández - Jesús Rey

Construction Company: FCC, S.A.

Client: Government of Andalucia

Architecture nourishes itself constantly from images hidden in our memory, ideas which become sharp and clear and unexpectedly mark the beginning of a project. Perhaps this is why the echo of the hispano-islamic culture which is still latent in Cordoba has subconsciously signified more than a footnote in our proposal. In the face of the homogeneity which our global civilisation imposes in all aspects of life, the Centre of Contemporary Art aspires to interpret a different western culture, going beyond the cliché of this expression used so frequently.

Distrusting the supposed efficacy and flexibility of a neutral and universal container commonly used nowadays, let us image a building closely linked to a place and to a far memory, where every space is shaped individually, to a time which can transform itself and expand in sequences with different dimensions, uses and spatial qualities. We have always been admirers of the hidden geometric laws through which those artists, artisans and master builders of a remote islamic past were capable of creating a multiple and isotropic space within the Mosque, a building facetted with vaults and muqarna windows, permutations of ornamental motifs with lattice windows, paving and ataurique decorations, or the rules and narrative rhythms implicit in the poems and tales of Islamic tradition.

Like those literary structures which include a story within another story, within yet another… - a story without an end – we conceived the project as starting with a system, a law generated by a repeating geometric pattern, originating in a hexagonal shape, which in turn contains three different types of rooms, with 150 m², 90 m², and 60 m². Like a combinatorial game, the permutations of these three areas generate sequences of different spaces which possibly can come to create a single exhibition area.

The artists’ workshops on the ground floor and the laboratories on the upper floor are located adjacent to the exhibition halls, to the point where there is no strict difference between them: artistic works can be exhibited in the workshops while the exhibition halls can also be used as areas for artistic production. The assembly room - the black box – is designed as a stage area suitable for theatrical productions, conferences, film screenings, or even for audiovisual exhibitions.

The Centre of Contemporary Art is not a centralised organism: its centre moves from one area to another, it is everywhere. It is designed as a sequence of rooms linked to a public walkway, where the different functions of the building come together. Conceived as a crossroads and meeting place, it is a communal area for exhibitions and exchange of ideas, to view an installation, see exhibitions, visit the café, use the mediateque, wait for the start of a show in the black box, or perhaps gaze at the Guadalquivir river.

The materials will contribute to suggest the character of an art factory which pervades the project. In the interior, walls and slabs of concrete and continuous concrete floors, establish a spatial area capable of being transformed individually using different forms of intervention. A network of electrical, digital, audio and lighting infrastructure creates the possibility of multiple views and connections everywhere.

Outside, the building aspires to express itself through one material: GRC prefabricated panels that at the same time clad opaque and perforated façades, or make up the flat and sloping roofs of the halls. The industrialised concept of the system as well as the conditions of impermeability, insulation and lightness of the material, contribute to guarantee the precision and rationality of its execution but also plays a part in the combinatory concept which governs the whole project.

The facade onto the river, a true mask that protagonizes the exterior facade of the building, is conceived as a screen perforated by several polygonal openings with LED-type monochromatic maps behind them. With an appropriate computer program, video signals will generate images and texts that will be reflected on the river’s surface and enable installations specifically conceived for the place.. During the day, natural light will filter through the perforations and penetrate the interior covered walkway.

In the Centre for Contemporary Art, artists, visitors, experts, researchers and the public, will meet as in a contemporary zouk, without an obvious spatial hierarchy. It will be a centre for creative artistic processes which will link closely the architectural space with the public: an open laboratory where architecture attempts to provoke new modes of expression. Some of the most recent artistic proposals linked to the most recent technologies appear to move away from materiality and submerge themselves in a virtuality disconnected from a concrete place, but perhaps through it, disagreeing with this interpretation – which has become a commonplace – we are convinced that the building itself, the Guadalquivir river, the present and the past of Cordoba, will not simply be a casual circumstance but – as it has been for us as well – will be the start of a dialogue, agreement, or perhaps rejection. For are these not also emotions which underlie the search for all artistic expression?