紅牛音樂(lè)學(xué)院，馬德里，西班牙

建筑設(shè)計(jì)：蘭加里塔-納瓦羅建筑事務(wù)所Architects: Langarita-Navarro Arquitectos

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紅牛音樂(lè)學(xué)院，馬德里，西班牙

建筑設(shè)計(jì)：蘭加里塔-納瓦羅建筑事務(wù)所
Architects: Langarita-Navarro Arquitectos

Red Bull Music Academy, Madrid, Spain, 2011

這一項(xiàng)目在很多層面上的邏輯都很像俄羅斯套娃。首先從字面上理解，建筑物在外觀上就呈現(xiàn)出一個(gè)建筑嵌套在另一個(gè)建筑中的形式；同時(shí)從時(shí)間上看，一個(gè)建筑也是自其他建筑發(fā)源而來(lái)。而項(xiàng)目所處的原始環(huán)境為創(chuàng)造這種情景提供了有利的背景條件。

緊急項(xiàng)目 紅牛音樂(lè)學(xué)院2011

紅牛音樂(lè)學(xué)院（RBMA）是個(gè)每年變換活動(dòng)地點(diǎn)的音樂(lè)節(jié)。在過(guò)去的14年間，這一活動(dòng)曾在世界各地的城市中舉辦，每次都挑選60名國(guó)際音樂(lè)人來(lái)參加，并有其他音樂(lè)人、制作人、DJ為他們服務(wù)，讓他們能夠?qū)嶒?yàn)和交流關(guān)于音樂(lè)的知識(shí)和創(chuàng)意。2011年的RBMA原本定在東京舉行，但因?yàn)榇蟮卣鸬木薮笃茐模坏貌恢匦逻x擇舉辦地。馬德里在距開(kāi)幕僅剩5個(gè)月時(shí)承接了這項(xiàng)任務(wù)。音樂(lè)節(jié)的新地點(diǎn)定在馬德里的屠宰場(chǎng)藝術(shù)園區(qū)，這是一座由20世紀(jì)早期的工業(yè)倉(cāng)庫(kù)群改造的創(chuàng)意園區(qū)。

中期項(xiàng)目 馬德里屠宰場(chǎng)藝術(shù)區(qū)的音樂(lè)村

RBMA選擇在這里舉辦音樂(lè)節(jié)，也是因?yàn)檫@里有新建的音樂(lè)村，這是一片為了音樂(lè)創(chuàng)作和實(shí)驗(yàn)專(zhuān)設(shè)的空間。借用音樂(lè)村原有的設(shè)備并考慮其實(shí)驗(yàn)性的特質(zhì)，音樂(lè)節(jié)工程被定性為具備高適應(yīng)性和可回收性標(biāo)準(zhǔn)的臨時(shí)構(gòu)筑物，能夠方便今后視需要進(jìn)行完全或部分的重建。

在這樣的背景和緊迫的時(shí)間要求下，工程的出發(fā)點(diǎn)是要提供能滿(mǎn)足音樂(lè)節(jié)精密的技術(shù)要求和聲學(xué)要求的基礎(chǔ)設(shè)施，同時(shí)也要能夠增進(jìn)、提升和豐富參與音樂(lè)節(jié)的音樂(lè)家們帶來(lái)的各種先鋒藝術(shù)在這里碰撞、交融的可能性，此外，也要讓環(huán)境中的設(shè)備能夠記錄和存儲(chǔ)音樂(lè)節(jié)里發(fā)生的一切。

我們的設(shè)計(jì)提案主要基于以下的5項(xiàng)準(zhǔn)則：

（1）工期與預(yù)算。設(shè)計(jì)必須嚴(yán)格遵守非常緊張的工期和預(yù)算。工程需在兩個(gè)月內(nèi)完工，這就要求必須使用輕質(zhì)結(jié)構(gòu)，并在標(biāo)準(zhǔn)化和適應(yīng)性之間尋求平衡。

（2）對(duì)倉(cāng)庫(kù)的考慮。藝術(shù)區(qū)的15號(hào)倉(cāng)庫(kù)是一個(gè)由金屬結(jié)構(gòu)和磚砌立面組成的開(kāi)放空間。這一建筑大約有4700m2，直接對(duì)外開(kāi)敞。設(shè)計(jì)中需要考慮的問(wèn)題之一是不能對(duì)倉(cāng)庫(kù)本身進(jìn)行改造，而是盡量讓其呈現(xiàn)原有的風(fēng)貌。

（3）流線要求。音樂(lè)節(jié)的組織明確地需要4個(gè)特定的功能分區(qū)：辦公區(qū)、音樂(lè)家的工作室、錄音室，以及供討論、廣播和休息用的區(qū)域。設(shè)計(jì)選擇的空間形式和結(jié)構(gòu)系統(tǒng)需要在今后重建時(shí)也能容納這些功能。

（4）聲學(xué)要求。音樂(lè)節(jié)的聲學(xué)要求對(duì)設(shè)計(jì)的幾何形狀、材料選擇和施工技術(shù)都有決定性的影響。每一塊區(qū)域都需要根據(jù)其用途做專(zhuān)門(mén)的考慮，讓其能滿(mǎn)足特殊的聲學(xué)需要。設(shè)計(jì)中采用的一些特殊的解決方案包括在錄音室中設(shè)置厚墻，在會(huì)議室的墻上包裹吸音材料，以及讓非平行的場(chǎng)館各自具有獨(dú)立的結(jié)構(gòu)和不同的幾何形狀。

（5）臨時(shí)性。因?yàn)轫?xiàng)目是臨時(shí)性的，不能對(duì)倉(cāng)庫(kù)今后的使用產(chǎn)生影響，設(shè)計(jì)要讓場(chǎng)館在拆除后完全不留痕跡。即使最“大手筆”的構(gòu)筑物也能被拆卸、易于回收，并能供今后的活動(dòng)再用。設(shè)計(jì)對(duì)于建筑的臨時(shí)性的考慮包括了使用沙袋作為錄音室的墻體，使用盆栽植物作為景觀，以便今后移植到藝術(shù)區(qū)或是城市的其他地點(diǎn)等等。

作為最終的成果，設(shè)計(jì)讓倉(cāng)庫(kù)的內(nèi)部空間以一種城市結(jié)構(gòu)的片段一般的形式呈現(xiàn)，建筑間則具有多樣的接近感和獨(dú)立性，建筑原本的特點(diǎn)和通過(guò)設(shè)計(jì)具備的新性能讓使用者們能在突破常規(guī)的舞臺(tái)上呈現(xiàn)音樂(lè)?！酰ㄋ抉R蕾 譯）

1 屠宰場(chǎng)藝術(shù)區(qū)15號(hào)倉(cāng)庫(kù)/Warehouse 15 of Matadero

2 入口向內(nèi)的視角，錄音室在右側(cè)，演講廳在中間，其他工作室在左側(cè)/Access view, recording studio on the right, lecture hall in the center, and studios on the left

3.4 總剖面/General section

項(xiàng)目信息/Credits and Data

主持建筑師/Principal Architects: María Langarita, Víctor Navarro

合作者/Collaborators: Juan Palencia, Gonzalo Gutierrez, Tonia Papanikolau, Paula García-Masedo

勘測(cè)者/Surveyor: Javier Re?ones

景觀設(shè)計(jì)/Landscape: Jerónimo Hagerman

設(shè)備設(shè)計(jì)/Mechanicals: úrculo ingenieros

聲學(xué)設(shè)計(jì)/Acoustics: Imar Sanmartí Acousthink S.L.

結(jié)構(gòu)設(shè)計(jì)/Structures: Mecanismo S.L.

竣工時(shí)間/Completion: 2011

攝影/Photos: Luis Diaz Diaz （fig.1,2,11,13）, Miguel de Guzmán （ fi g.5,7,12,17）

5 工作室全景/Studios general view

In many ways this project shares the logic of a Russian matryoshka doll. Not only in the most literal, physical sense, in which one thing is directly incorporated into another, but also in a temporal sense, in which one actually originates within the other. The initial circumstances of this project established a favorable backdrop for this condition:

An emergency project. The Red Bull Music Academy Madrid 2011

The Red Bull Music Academy （RBMA） is a nomadic annual music festival. For the last 14 years, this event has been held in a different world city, welcoming sixty pre-selected international participants and surrounding them with musicians, producers, and DJs, thereby providing the opportunity to experiment with and exchange knowledge and ideas about the world of music. The 2011 RBMA was going to be held in Tokyo, but given the devastating e ff ects of the earthquake, the location had to be changed. With only fi ve months left for the event, the city of Madrid took over. The creative space known as Matadero Madrid, which is located in an early 20th century industrial warehouse complex, was designated as the event's new location.

A Medium-term project, The Nave de Música in Matadero Madrid

The RBMA launched the programming for the new Nave de Música （music warehouse）, a space speci fi cally dedicated to audio creation and research. Using the existing installation as a starting point and given its experimental character, the construction project was approached as a temporary structure based on the criteria of adaptability and reversibility that allows completely or partially reconfiguration over time.

Under these circumstances as in an emergency situation, the work began with the infrastructure capable of meeting the precise technical and acoustic needs of the event, in addition to accelerating, promoting and enriching a series of extremely intense artistic encounters that would take place between the participating musicians, while at the same time adding an environment that would record and archive everything taking place.

The proposal was developed based on five principles:

（1） Deadlines and budget. The design had to speci fi cally comply with tight deadline and budgetary restrictions. The construction had to be completed in less than two months, implementing solutions that would require only light construction and seeking a balance between standardization and adaptability.

（2） Regarding the warehouse. Warehouse 15 of the Matadero is an open space comprised of a metallic structure with a brick facade. This structure, which measures about 4,700 m2, opens directly to the outside. One of the criteria taken into account for this project was that of not modifying the warehouse itself, but rather leaving it exactly as it was before the intervention.

（3） Program requirements. The program's organization clearly establishes a speci fi c con fi guration that is grouped into four areas: offices, studios for musicians, recording studios and an area used for conferences, radio and as a lounge. The chosen spatial and constructive systems would allow for the recon fi guration of these spaces for future events.

（4） Acoustics. The acoustic requirements for this event determined its geometry and the choice of materials and construction techniques. Each of the areas acquired a speci fi c logic that corresponded with its usage, thereby making it possible to uniquely resolve its acoustic needs. Some heterogeneous solutions included the massive walls in the recording studios, the absorbent surfaces of the cloth domes in the conference room and the structural and geometric independence of the nonparallel pavilions.

（5） Temporariness. Given the temporary nature of this project and in order to avoid in fl uencing future interventions in the warehouse, it was designed to be dismantled to ground. Even the "heaviest" actions were designed reversibly to be recycled for future events. Examples of this included the use of sandbags to make up the walls of the recording studios and potted plants that could later be transplanted in other areas of the Matadero or the city.

As a result, the project unfolded in the warehouse's interior in the form of a fragmented urban structure in which the variable relationship between proximity and independence, and preexistence and performance could offer an unexpected stages for the community of local inhabitants.□

6 總平面/General plan

7 工作室/Studios

8 總軸測(cè)/General axonometric

9 細(xì)部軸測(cè)/Detail axonometric

10 工作室軸側(cè)/Studios axonometric

評(píng)論

張利：紅牛學(xué)院為大空間工業(yè)建筑的再利用提供了一個(gè)有趣的思路：再利用不是對(duì)原建筑的尺度降解與空間分割過(guò)程（或者說(shuō)空間分割模式），而是小尺度構(gòu)筑物對(duì)原空間的填充或占據(jù)過(guò)程（重新占據(jù)模式）。重新占據(jù)模式使廠房本身成了一個(gè)小宇宙，其間容納著行星般的聚落。這避免了空間分割模式中對(duì)機(jī)械秩序的依賴(lài)，是一種潛力巨大的方法。類(lèi)似的事情出現(xiàn)在普朗克等人的音樂(lè)中——短小的基本主題與變形以聚落的方式連接在一起，形成對(duì)時(shí)間的填充。

Comments

ZHANG Li: The Red Bull Academy proposes a smart way of adaptive reuse of large factories which, instead of breaking down the scale of the original space by dividing it, simply reoccupies it or fills it with microcosm artifacts. It makes the original factory a micro universe, and the added clusters of small structures planets. Freed from the compulsory "order" of trying to divide the original space, this re-occupation process has huge potential. Poulenc did similar things in his music, where micro motives are fi rst weaved into clusters, then fi lled the time of a piece.

楊鵬：作為臨時(shí)性建筑，同時(shí)受制于緊張的造價(jià)與工期，設(shè)計(jì)的主要手法很自然地采用了“復(fù)制”與“變奏”。十幾個(gè)雙坡屋頂?shù)膯卧w以不同角度的擺放，形成疏密有致的辦公室、工作室組團(tuán)。近似的單元體室內(nèi)不同的墻面顏色，淡化了“重復(fù)”而強(qiáng)化了“變奏”。體量較大的報(bào)告廳、休息廳和錄影棚，可以視為單元體的特殊組合，形成高潮式的變奏?？傮w而言，一種經(jīng)典的手法被恰到好處地運(yùn)用，并無(wú)神奇，卻非常成功。

YANG peng: As a temporary structure with tight schedule and budget, this project wisely chooses "repetitions" and "variations" as its main design strategy. A dozen of pitch-roofed units, well-spaced and placed at di ff erent angles, make up the clusters of o ffi ces and studios, with various wall colors of similar units enhancing the variations. The distinctive complex of lecture hall, lounge and recording studios highlights the climax of the variations with several dramatic and multifaceted volumes. In general, it is a classic approach working successfully due to its rich subtlety.

11 工作室內(nèi)景/Studios interior

12 工作室/Studios

13 工作室/Studios

14 花園/Garden

15 穿過(guò)休息室的剖面/Section through the lounge

16 穿過(guò)演講廳的剖面/Section through the lecture hall

17 演講廳/Lecture hall