西班牙 El "B" 表演艺术中心

2012/04/15 08:00:00

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El “B”

不仅仅是一个机构，一个建筑，不仅仅属于西班牙卡塔赫纳港口，它属于大海。建筑平展的直线就像平静的海面。这是一座简单，自然巨大的人工建筑，也是最自然，简单的

“

景

”

。

整个表演艺术中心沿着长

1000

米的码头展开，临海面开辟

米宽的滨海人行道供人们休息散步。这个海滨人行道是建筑师们的建议，历史上这里是自然的沙滩，因为城市化的不可避免，现在这里是人工的

“

沙滩

”

，某种程度上达到了历史连续性。建筑师让建筑尽可能低调，却制造出强大的气场，人们可以在其中忘我的活动。

拒绝单调的，坚硬的物体出现在海港，建筑师选择了半透明的，细腻的，光亮的，宛如水生生物般的材料，营造出了

“

水中的音乐空间

”

效果。

其它的材料，比如，塑料，交错安置在建筑表面上，形成不同的多变的外观形象。像是码放在港口的货物。内部安静，复杂，精致，轻盈。没有外面所反映的直线感，也打乱了那种简单的体量感。蓝色的演播厅就像是海底世界。亮丽的色彩点缀着空间，起伏的坡道上下延展。屋顶平台可以让人们一边吹着海风，一边欣赏美丽的景色。

建筑联系了过去和现在，并推进着港口的蓬勃发展。

To be in a borderline: “… in the hot sun (they feed on the sun), in the shade (they feed on the shade), or in the borderline between sun and shade” H. Michaux

El “B” is this long construction, a body, that feeds on the heritage -the continuity- of a site’s treatment: THE Cartagena harbour, which is nothing but a harbour in Cartagena, borderline of the city from the sea. Everything here belongs to it, belongs to the port, any port we should say: the immaculate straightness of the pier edge (straight), the invariably calm sea (flat), the artificially horizontal plane of the dock (flat), the sky as the variable background for this plane (plane on a plane?), all based on an artifice to represent the simplest -and by virtue of its simplicity, the most natural, the most immensely artificial- plane that equates to the most natural.

The Alfonso XII dock is 1,000 metres long, exactly a kilometre, where we can assume that we are at the end. A 20 metre wide strip runs the full length, parallel to the edge, which is respected by the buildings. A very pleasant walk can be designed for the city along this strip, a daily procession following the immutable edge. In fact, this promenade is what we encourage; it is what we insert in the building, in a dimensional continuum that seems to dig out an artificial beach, but is actually a continuity of history, because the old El Batel beach was right here, on this very spot. The harbour is artificial, not the beach.

This reclaimed beach-ramp gradually submerges us below the waterline, with the pier’s horizontal line as a constant reference. At this point we cease to belong to the outside world and start to belong to ourselves, ourselves in movement, ourselves strolling, working on the 210 metre scale reserved site for ourselves. We have worked on the contrast with the outer facade produced by the cut at ground level, and we continue to make use of the dictatorship of the dock, but precisely in opposition to it.

。

We refuse include the harbour’s beautiful orthogonal monotony; we exclude the hardness of the port from the interior, and instead, we seek something that is completely the opposite: translucent, delicate, light, aquatic; something that has to do with what Luigi Nono defined as “a space for water music”.

Each component and detail of this project is another project in itself, but, as each project, acting in obedience to its surroundings, all belong to both a whole, not sought, but deduced, which is what shapes the character of El “B”.

。

。

All the material, both aluminium and plastic, is manufactured from a single extruded section, varied in placement and colour to give the appearance of multiple pieces. These pieces are all set parallel to the pier edge to underscore the idea of horizontality and achieve an even longer rectangle than it already is, in this case extruded like a “churro” (wrinkled doughnut), only on its immediate scale: overall, it seems to be the result of an accumulation of different components, stacked neatly on the pier. The memory of a former use.

Outwardly and also inwardly, this is an extremely false complex, one set as the antagonist of the other, like people who seem to be very quiet but are actually paralyzed by the continuous movement of their central nervous system. Their antagonism is clearly evident in the coexistence of the upper and the lower floors, a perfect example of anacoluthon: there is no agreement between them. Their only connection is that both thrive on the harbour, because, we insist, the entire project thrives on the idea and the memory of a harbour; what happens here now and what used to happen here.