卡特托俱乐部丨西班牙丨未明确提及

2026/05/04 08:47:57

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卡特托俱乐部作为一个实验性且不断演化的空间而诞生，致敬20世纪60年代太阳海岸的俱乐部——彼时Frank Sinatra与Brigitte Bardot等明星曾在此起舞。它游走于那一想象图景与当代俱乐部场景之间。它同时也是对Mario Bellini作品的一次细腻且刻意带有感官性的致敬，并指向其美学遗产的持久当代性。该项目以不带刻意怀旧的方式回望“Relax Style”美学风格：一个将享乐视为生活方式、几近成为一种“修行”的时代；一种为愉悦而生的美学。

Cateto Club emerges as an experimental and ever-evolving space, a tribute to the clubs of the Costa del Sol in the 1960s, where stars such as Frank Sinatra and Brigitte Bardot once danced. A place that moves between that imaginary and the contemporary club scene. It is also a small —and deliberately sensual— homage to the work of Mario Bellini and to the enduring relevance of his aesthetic legacy. A project that looks, without forced nostalgia, to the Relax Style: a time when pleasure was a way of life and hedonism, almost a discipline; an aesthetic conceived by and for enjoyment.

▼入口立面，storefront view © loveladrillo

圆形入口门成为标志性元素：一个直径三米的构件，吸引视线，并呼应Robert Venturi提出的“我即纪念碑”效应。它直接致敬托雷莫利诺斯蒙特马尔地区N-340公路沿线夜店入口立面——在那个时代，建筑本身即是一种景观，如同拉斯维加斯大道般，通过视觉竞争吸引过往车辆的注意。

The circular entrance door becomes an iconic element: a three-meter-diameter piece that captures attention and plays with the “I am a monument” effect theorized by Robert Venturi. A direct nod to the entrance façades preceding the nightclubs along the N-340 in Montemar, Torremolinos, where architecture functioned as spectacle —almost like the Strip in Las Vegas— competing to capture the attention of passing drivers.

▼入口与空间过渡，Entrance and spatial transition © loveladrillo

▼入口一角，a corner at the entrance © loveladrillo

▼圆形入口门细部，Circular entrance element detail © loveladrillo

空间亦为不完美与未完成的痕迹留有余地。在卡特托俱乐部中，这些反而成为一种立场表达。它们回应一种深植于那个时代的建造方式：粗粝的表面、真实的肌理、对粗糙质感的价值认同，以及作为身份象征的在地性。这里的参照包括喷涂肌理、马贝拉俱乐部的白色室外家具，或托雷莫利诺斯的迈阿密酒店等，这些场所的自然不完美塑造出独特的美学。

There is also room for imperfection, for traces of the unfinished. In Cateto Club, these are in fact a statement of intent. They respond to a way of building deeply rooted in that era: rough finishes, honest textures, the value of the coarse, and the vernacular as identity. References resonate here, from gotelé finishes to the whitewashed outdoor furniture of the Marbella Club, or places such as the Hotel Miami in Torremolinos, where this natural imperfection defined a distinct aesthetic.

▼室内空间概览，interior overview © loveladrillo

饱和的曲线与鲜艳的色彩构成的空间宇宙，与Verner Panton在其百年诞辰之际的激进想象展开对话，同时也呼应更为贴近、近乎日常的记忆：位于福恩吉罗拉N-340公路旁的Aqua-Tec潜水俱乐部、托雷莫利诺斯的三座粗野主义塔楼，以及马贝拉的Tiempo Libre工会度假城。这些大众文化图像在当代语境中被重新诠释。

A universe of saturated curves and vibrant color engages in dialogue with the radical imagination of Verner Panton —in the year of his centenary— and with a closer, almost domestic memory: the Aqua-Tec diving club along the N-340 in Fuengirola, the brutalist 3 towers of Torremolinos, or the Ciudad Sindical de Vacaciones Tiempo Libre in Marbella. Popular icons reinterpreted through a contemporary lens.

▼室内一角，a corner of interior © loveladrillo

最终呈现的是一个高度建筑化的空间，其中形体、色彩与光成为主角。没有多余装饰，空间体验建立于本质之上。整个项目围绕一个核心动作展开：对圆柱体的探索。这一几何在多重尺度与语义中展开：作为空白或负空间出现在座位凹龛中；作为实体体量呈现于吧台与座凳；在Sentry Sculpture Light中突出；在门与界面中被切割；或以图案形式压印于陶瓷地面之上。由此形成一种连贯、近乎执着的语言，使整体获得统一。照明系统则通过经典灯具加以完善，例如Panthella lamp、Nesso lamp与Gambosa lamp，强化了一种介于流行文化与复古未来主义之间的空间想象。这一连贯、近乎执着的语言再次赋予整体统一性。

The result is a deeply architectural space where form, color, and light take center stage. Without superfluous ornament, the experience is built from essentials. The entire project is articulated through a single gesture: the exploration of the cylinder. A geometry that unfolds across multiple scales and readings: as void —or negative space— in the seating alcoves; as mass in the bar and stools; extruded in the Sentry Sculpture Light, designed by Ewan Lamm for Ultramar Studio; sectioned in doors and thresholds; or imprinted as a pattern across the ceramic flooring. A coherent, almost obsessive language that brings unity to the whole. Lighting is completed with iconic pieces such as the Panthella by Louis Poulsen, the Nesso by Artemide, and the Gambosa by Marset, reinforcing an imaginary that sits between the pop and the retrofuturistic. A coherent, almost obsessive language that gives unity to the whole.

▼弧形卡座区近景，Curved booth seating area close view © loveladrillo

▼灯具细部，Lighting detail © loveladrillo

空间通过由室内景观设计师Charo Benitez与Alejandro Cateto共同完成的艺术装置，进一步进入第二种状态。该介入回应了这些20世纪60年代太阳海岸标志性建筑当下的废弃状态——例如Tiempo Libre度假城或福恩吉罗拉的Aqua-Tec潜水俱乐部——如今被闲置，自然植被自发地重新占据空间。该装置正体现了这一理念：非洲菊与向日葵从空间的裂缝中生长而出，既是对这种废弃状态的批判，也是一种重新占领的姿态。它宣示着“Relax Style”的美学风格依然能够再次生长与绽放。在地材料、金色细部以及流动的空间共同构建出一个微型的复古未来主义乐园。这就是卡特托俱乐部：一座纪念物式的建筑。

The space further transitions into a second state through an artistic installation by interior landscaper Charo Benitez alongside Alejandro Cateto. This intervention revisits the current state of abandonment of many of these emblematic 1960s Costa del Sol buildings —such as the Ciudad Sindical de Vacaciones Tiempo Libre or the Aqua-Tec diving club in Fuengirola— now left unused, where vegetation spontaneously reclaims the space. This installation embodies precisely that idea: gerberas and sunflowers emerge through the cracks of the space as both a critique of this abandonment and a form of reclamation. A statement that the Relax Style aesthetic can still, once again, bloom. Local materials, golden accents, and a fluid architecture come together to create a small retrofuturist paradise. This is Cateto Club: souvenir architecture.

▼花卉介入卡座空间，Floral installation within seating area © loveladrillo