加爾西穆尼奧斯城堡及多媒體圖書館改造，昆卡，西班牙

建筑設(shè)計(jì)：伊薩思庫恩·坎奇利亞事務(wù)所

1 外景/Exterior view

位于西班牙昆卡的加爾西穆尼奧斯城堡改造項(xiàng)目，對可追溯到阿拉伯、中世紀(jì)和新古典主義時(shí)期10～18世紀(jì)）的歷史遺跡進(jìn)行了加固。新加建的多媒體圖書館是創(chuàng)新與活用的體現(xiàn)。大多數(shù)研究及創(chuàng)新工作，都側(cè)重在能源、區(qū)域內(nèi)的文化活動(dòng)、社會(huì)參與及經(jīng)濟(jì)等方面實(shí)現(xiàn)建筑的可持續(xù)維護(hù)。

不同功能的融合、不同時(shí)期的施工、局部的損毀、對于舊有不可見地層的挖掘和糟糕的自然資源保護(hù)狀態(tài)，使得游客很難領(lǐng)略到真正的遺址。新構(gòu)筑物顏色明快，很容易與既有建筑相互區(qū)分。與其說它是一座構(gòu)筑物，不如說是一組人行天橋、平臺(tái)、樓梯和欄桿的集合更為合適。我們嘗試按照不同要素將各個(gè)歷史時(shí)期進(jìn)行區(qū)分，并將不適宜一同展現(xiàn)的建筑景觀進(jìn)行遮擋隔離。

加爾西穆尼奧斯城堡有多種用途。由于法律明令要求要“永久”保護(hù)文化遺產(chǎn)，我們?yōu)槲磥硪廊淮嬖诘慕ㄖz址假設(shè)了很多種不同的使用形式，因此，新構(gòu)筑物更像是一種臨時(shí)性的植入。所有技術(shù)細(xì)節(jié)都經(jīng)過精心設(shè)計(jì)，使構(gòu)筑物可以折疊拆卸。新構(gòu)筑物與遺址迥然不同，但又是充分尊重對未來的保護(hù)且利用合理的。

資源整合和驟減的游客量是影響所有決策的動(dòng)因。因此，設(shè)計(jì)介入的能源損耗被控制在最低范圍。多媒體圖書館利用了大量室外區(qū)域，因此天氣晴朗時(shí)，便有廣闊的空間可供公眾參觀。

幾個(gè)世紀(jì)以來，每到夏季，地中海地區(qū)的所有居民都十分享受戶外，特別是夜晚的生活。該項(xiàng)目試圖保持甚至恢復(fù)這些傳統(tǒng)。新引入的戶外電影院，主要在夏季的夜晚播放電影，保留了文化交融的傳統(tǒng)，并在剛?cè)胍箷r(shí)提供了社會(huì)活動(dòng)。居民相互交談、講故事、分享旅行見聞等等這些晚間時(shí)段的典型活動(dòng)，相當(dāng)于是對觀影的預(yù)熱，也是地中海文化輸出的重要標(biāo)志。

2 扶手欄桿示意圖/Parapet diagram

3.4 外景/Exterior views

The Refurbishment of the Garcimu?oz Castle(Cuenca, Spain) is a project that consolidates a complex existing group of ruins dating back to Arab, Medieval and Neoclassicism times (centuries 10th to 18th). It also incorporates new architecture with an innovative use consisting on a Media Library. Most research and innovation efforts focus on achieving a sustainable maintenance of the building in terms of energy, cultural activity within the region, social engagement and finance.

The combination of different uses, different periods of construction, partial demolishment,digging up of old non visible stratus and a poor state of conservation makes it quite hard for visitors to interpret the actual ruins. The new architecture is light, seeking to distinguish itself from the pre-existing edifice without much as an ensemble of footbridges, platforms, stairs and rails. The location of its elements tries to separate different periods of history and to isolate the vision of the architectures that were never thought to be seen together.

As we have already mentioned, the Castle has had many different uses. Due to our laws enforced to the preservation of heritage "forever", we could presume different future uses for buildings are still to come. The new architecture is, for this reason, understood as a temporary occupation.All technical details have been designed so that the building is fully collapsible. This fact is one of the clues to consider the new architecture fully different from the old one but respectful and sensible with its future conservation and use.

The combination of few resources and the fluctuating flow of users have actively conditioned all decisions. For that reason, the energy consuming area of the intervention has been minimised. The Media Library programme has been organised with plenty of outdoor areas so that when weather is mild and public visits are the greatest extensive spaces are available.

5 鳥瞰剖面/Look down from above, section

6 剖面/Section

During centuries in all the summer months,all of the inhabitants of Mediterranean regions have enjoyed the outdoor life, particularly after dark, the project tries to maintain and even recover these traditions. The introduction of the outdoor cinema, to be used mainly in summer nights, also intends to preserve a culture of meeting and to provide with public activities for the first hours of nighttime. Typical activities of these hours have been conversation, storytelling,trips narration that can be considered the precedent of cinema and important landmarks of Mediterranean cultural production.

At the moment there is no Castle both in Spain and in Europe that has been refurbished with introduced digital technologies as an important part of programme. The opinion of the Spanish Minister of Public Work is that this project offers a test on how innovative uses of digital technologies can give new opportunities to isolated Castles. We hope that the uniqueness of the programme, of the geometries, of the new architecture is the seed for a bigger strategy on how to keep the heritage of the past in a sustainable way, while creating a heritage for the future connecting the past and present times.

The major element of the new intervention,the platform covering the Moorish citadel and enabling the use of the old Weapon courtyard has been fully designed taking bioclimatism into consideration. The platform is composed by two layers, being the upper one made out of steel grid and the lower one of glass. The glass cover produces an increase of the temperature during the winter. This spontaneous increment of the temperature is crucial to avoid damage in the archaeology caused by minus zero temperatures.During the summer forty-five solar chimneys will ensure abundant ventilation. The solar chimneys are glass volumes of 3.45m by height placed over the cover. They are not only solar chimneys but display cabinets to exhibit objects on the upper level. The top piece of the chimneys is a small skylight that can be opened. During summer, the sun heats the air in the chimney and makes it flow up to elevate the air from the lower level.□

7.8 太陽能風(fēng)筒及彩色路燈/Solar chimneys and colourful lights

目前，無論是西班牙還是歐洲，在城堡改造翻新時(shí)引入數(shù)字技術(shù)，并將其作為項(xiàng)目的重要組成部分，加爾西穆尼奧斯城堡是首例。西班牙公共工程部部長認(rèn)為，在數(shù)字技術(shù)的創(chuàng)新使用如何給古堡帶來新機(jī)遇的問題上，該項(xiàng)目是一種嘗試。在為未來打造連接過去與現(xiàn)在的遺產(chǎn)時(shí)，如何以可持續(xù)的方式將歷史遺產(chǎn)留存？我們希望獨(dú)特的項(xiàng)目、獨(dú)特的幾何結(jié)構(gòu)、獨(dú)特的新構(gòu)筑物，是一粒種子，能孕育出更為大膽的改造策略。

摩爾城堡和授權(quán)使用的舊武器庭院，這部分用地已經(jīng)完全基于生物氣候進(jìn)行了設(shè)計(jì)，是改造介入的主要方式。場地由兩層組成，上層由鋼格柵制成，下層則是玻璃。冬季，玻璃層可以保溫，溫度的自然增加對于避免攝氏0℃引起的古跡損壞至關(guān)重要。在夏季，45個(gè)太陽能風(fēng)筒將是充足通風(fēng)的保證。這些置于格柵上3.45m高的玻璃太陽能風(fēng)筒，同時(shí)還是展示柜。風(fēng)筒頂部是一個(gè)可開啟的小天窗，夏季陽光照射，風(fēng)筒內(nèi)的空氣受熱上升，使下層空氣流通。□（天妮 譯）

9 戶外電影院/The outdoor cinema

10 走廊/Corridor

項(xiàng)目信息/Credits and Data

主持建筑師/Principal: Izaskun Chinchilla

客戶/Client: Spanish Ministry of Public Works

合作方/Collaborators: Carlos Jimenez Cenamor

承包商/Contractor: CLEOP S.A.

場地質(zhì)量監(jiān)管/Quality Control on Site: Intercontrol Levante S.A.

建造狀態(tài)/Output Type: 建造中/Under construction

監(jiān)督主管/Supervising Director: Izaskun Chinchilla

技術(shù)監(jiān)督/Technical Supervisor: Urbano Chousa

監(jiān)督聯(lián)合主管/Supervising Co-director: Carlos Jimenez Cenamor (2010.03-2011.12)

結(jié)構(gòu)顧問/Structural Consultancy: Roberto Marín Sampalo.執(zhí)行監(jiān)督/Execution Supervision Assisttants: D-fine S.L.

考古學(xué)家/Archeologist: Joaquim Parcerisas Civit.

官方預(yù)算/Official Budget for Public Contract: 3,335,833.17€

攝影/Photos: Miguel de Guzman

線圖/Drawings: Izaskun Chinchilla Architects

評論

龍灝：在歐洲的古建筑再利用項(xiàng)目中，原有建筑或遺址大多是石材砌筑為主，這就為更新、利用提供了一個(gè)比亞洲多見的古舊木結(jié)構(gòu)建筑更加有利的條件和更多樣的選擇可能性。就本項(xiàng)目里“新建建筑物（或構(gòu)筑物）”的材料選擇和基本構(gòu)造措施而言，“鋼+玻璃”算得上是標(biāo)配了，并無特別之處，但問題在于同樣是鋼和玻璃，會(huì)被怎樣使用？在本項(xiàng)目的設(shè)計(jì)中，玻璃隔層與玻璃的太陽能風(fēng)筒既可達(dá)成保溫、通風(fēng)的作用，體現(xiàn)當(dāng)代綠色建筑的設(shè)計(jì)要求，其本身的形式和組合上也被作為了裝置藝術(shù)品。頂部觀景平臺(tái)的籬笆形欄桿樣式更是匠心獨(dú)運(yùn)，加上與城堡土黃背景色對比明顯的色彩運(yùn)用，使本項(xiàng)目具備了在歐洲的類似項(xiàng)目中較為突出的個(gè)性。

胡恒：在不賦予新功能的前提下有效改造一個(gè)古城堡的方式只有一條：使之成為藝術(shù)品。該項(xiàng)目正走在這條路上。工作分兩部分：覆蓋加泰羅尼亞文化中狂野的色彩藝術(shù)；用高科技將其變成一具智慧空間生物。第一項(xiàng)不難，增設(shè)的天橋、欄桿、隔柵、樓梯、屋頂、挑檐、玻璃窗、通風(fēng)口，都是色彩潑灑的現(xiàn)成道具。第二項(xiàng)就很考驗(yàn)人了——不過對技術(shù)的迷戀也是加泰羅尼亞文化的傳統(tǒng)。因?yàn)檫@些道具不光是視覺體驗(yàn)的對象，還得與城堡主體一起合成一個(gè)能夠給人以全方位官能體驗(yàn)的場所。所以這些道具是活性的。它們既使古堡看著養(yǎng)眼，待著舒服，自己也能活動(dòng)，說不定以后還可以在無人操作的情況自行“來去”?？雌饋?，當(dāng)代藝術(shù)與人工智能的融合已近在眼前了。而這應(yīng)該就是這個(gè)古堡的未來吧。

11 鳥瞰/Look down from above

12 遠(yuǎn)望/Overlook

Comments

LONG Hao: Most of the existing buildings or ruins are primarily stone masonry in the historical architecture renewal projects in Europe, which provides more favorable conditions and more diverse possibilities while making decisions compared to the projects in Asia commonly based on ancient woodstructural architecture. In terms of the material selection and basic tectonic methods for the "new building (or construction)" in this project, "steel +glass" could only be seen as a standard combination without anything special. Thus, the key point comes to how these two common materials can be used. In the design of this project, the glass compartment and glass solar ventilating tubes not only function for thermal insulation and natural ventilation to reflect the standards of contemporary green buildings, but also can be seen as art installations with designed form and composition. The fence-shaped parapet style of the viewing platform on top is quite ingenious.Together with the highly contrasting colours visible in front of the background earthy color of the castle,it also sculptures some outstanding identity for the project itself among similar ones in Europe.(Translated by CHEN Xi)

13.14 護(hù)欄/Parapet

15 內(nèi)景/Interior view

16 地下通廊/Underground galleries

17 洗手間/Restroom

HU Heng: The only approach to effectively refurbish an old castle without adding new features to it is to make it become a piece of artwork. This project, in two parts, serves as a perfect example of such a method.Firstly, different colours are employed to enrich its Catalan culture, while the use of high technology allows it to become intelligent life. The first part cannot be considered as difficult due to the newlyadded footbridges, parapets, stairs, rooftops, cornices,glass windows and air vents, which all function as existing colourful elements. However, the second part of refurbishment work would not be easy (yet, the pursuit of the utilisation of technology can be regarded as a tradition of Catalan culture). These elements not only form a part of objects for visual experience, but are also integrated with the castle and work together as a place, which provides visitors with a full sensory experience. In this regard, the elements are flexible.They render the old castle beautiful and bring comfort to audiences. Moreover, they might be able to "move"around freely with an automatisation system in the near future. It seems that the integration of modern art and AI technology is close at hand. Shall we consider this scene as this castle's future?(Translated by Dandan Wang)