洛格羅尼奧古城墻改造

建設(shè)單位：安達(dá)盧西亞公共土地公司

項(xiàng)目地點(diǎn)：西班牙安達(dá)盧西亞自治區(qū)馬拉加市

設(shè)計(jì)單位：烏拉吉建筑師事務(wù)所

場(chǎng)地面積：2 000 平方米

建筑面積：(第一部分) 1 250 平方米，(第二部分) 213 平方米

攝影：Eduardo Sánchez,Pedro Pegenaute

Client:Public Land Company of Andalusia

Location:Logro?o,La Rioja,Spain

Architect:Ulargui Arquitectos

Site Area:2,000 m2

Building Area:(First part) 1,250 m2,(Second part) 213 m2

Photography:Eduardo Sánchez,Pedro Pegenaute

洛格羅尼奧城中遺留的一段城墻，城門(mén)和城垛始建于16 世紀(jì)上半葉。這座重要軍事城防建筑以其堅(jiān)固的質(zhì)量和精細(xì)的建造細(xì)節(jié)成為洛格羅尼奧歷史繁榮時(shí)期的重要象征之一。我們進(jìn)行的恢復(fù)和改造項(xiàng)目旨在將這個(gè)幾乎被遺忘的歷史遺產(chǎn)轉(zhuǎn)變?yōu)檎褂[空間，重新被市民使用。Xxxxxxx對(duì)于看作是所進(jìn)行的有關(guān)兩個(gè)時(shí)代的操作。

一方面，我們對(duì)城墻的修復(fù)是建立在科學(xué)的介入方法上（包括根據(jù)考古學(xué)研究對(duì)損毀部分進(jìn)行修復(fù)和重建），旨在重現(xiàn)其古老的形式。而新的展覽空間則是一個(gè)獨(dú)立安裝的預(yù)制部分，其形式源自當(dāng)代的設(shè)計(jì)語(yǔ)匯。這兩個(gè)來(lái)自不同時(shí)代各異的形式在工程的最后階段，以 “腳尖對(duì)腳尖”的方式結(jié)合在一起。

對(duì)于古城墻的改造工作有兩部分構(gòu)成。第一部分包括修復(fù)轉(zhuǎn)角處的城垛和一側(cè)的舊城墻，并在另一側(cè)原城墻位置使用輕質(zhì)石材建造一段新的城墻建筑。新城墻的體量和形式根據(jù)現(xiàn)在的城市肌理進(jìn)行了調(diào)整，重新定義了城墻立面。新建筑內(nèi)部是一個(gè)不對(duì)稱(chēng)空間，材料和空間幾何的連續(xù)性塑造了一個(gè)大型多媒體展廳。投影儀將畫(huà)面投射在地板，墻壁和天花板上。

第二部分包括一個(gè)鑲嵌在城垛之中的獨(dú)立展廳。多角形的平面使展廳與舊城墻之間形成了多個(gè)小庭院，它們向展廳引入自然光的同時(shí)，也使室內(nèi)的觀眾可以從各個(gè)角度觀察城墻。該展廳與之前的城墻展廳使用的不同材料說(shuō)明了它們不同的身份：城墻展廳為了喚起曾經(jīng)記憶所以需要石材的 “穩(wěn)定性”，而多邊形展廳強(qiáng)調(diào)的是一個(gè)放置在歷史建筑殘骸之上的獨(dú)立物體，在它周?chē)臉翘?，長(zhǎng)凳和走道將室內(nèi)外連接成為一條連續(xù)的展覽路徑。

Consolidated in the first part of the 16th century,this fragment of Wall,Cube and Door,constitutes as a whole the most important military construction carried out for the defense of the city and,due to the quality of its execution and the care in its details ornamental,makes present the period of greatest prosperity in the history of Logro?o.The small actions that we have carried out try to enable this symbolic space left in oblivion as a container for exhibitions.An intervention that we have understood as a work in two stages.

On the one hand,the monument has been rehabilitated without renouncing the usual intervention process (with its archaeological studies,treatment of pathologies and reconstruction of damaged parts)following its own temporal process.The exhibition adaptation,however,has been understood as a set of prefabricated elements that have been installed independently,collecting in their form the final data from scientific studies.From the encounter between these two times and geometry,two pavilions have emerged that have been introduced at the last moment,almost on tiptoe.

The first recovers the original physical configuration of the walled system,with its Cube in the corner and with the two canvases,the existing one and the newly created one,on each side.It is a light stone construction that aims at the same time to blend in and show a distance with the pre-existing.A building “all fa?ade”that adjusts in its subsequent volume to the conditions of good urbanity.Its interior is an asymmetrical space where the material and geometric continuity allows the creation of a large multimedia room that projects content on the floor,walls and ceiling.

The second is a small lead construction inserted inside the Cube and whose configuration through oblique planes allows simultaneously enjoying natural light and a direct relationship with the wall through small patios.The material differentiation with the first expresses its different condition:if the first seeks to evoke past memory and therefore needs the “stability”of the stone,the second is nothing more than an object resting on the remains,which like stairs,benches and walkways turn the complex into an exhibition tour.

總平面圖 Site Plan

實(shí)體模型 Entity model

地面層平面 Ground Plan

屋頂層平面 Roof Plan