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特里亚纳陶瓷博物馆/AF6 Arquitectos第1张图片
© Jesús Granada

特里亚纳陶瓷博物馆/AF6 Arquitectos第2张图片
© Jesús Granada

来自于建筑师的描述。该项目建立在一个老建筑组群之上,包括一个旧陶艺建筑群、一个陶瓷展览中心,一个针对特里亚纳各条旅游线路的解说中心,以及用于开展圣安娜陶瓷厂的商业及生产活动的不同区域。


From the architect. The project develops on an old pottery complex, an exhibition center of ceramics, an interpretative center on different tourist routes in the quarter of Triana, as well as different areas for the commercial and productive activities of the Santa Ana Pottery Factory.

特里亚纳陶瓷博物馆/AF6 Arquitectos第3张图片
© Jesús Granada


特里亚纳

     在塞维利亚,渡江进入特里亚纳其实就像是穿越一个虚构的边境,这座历史古城的发展变迁已经模糊不清。特里亚纳是一个小的,紧密的,在国内来说也不算大的一个街区。这是一个混合邻居街坊、工艺作坊、现代流行住宅和起源于20世纪中期的住宅发展而来的其他类型的住房的复杂的城市地区。在特里亚纳有长期的日常传统工艺和艺术活动,如陶器,弗拉门戈(西班牙吉卜赛人的舞蹈)等,这些都是该地区鲜明的标志元素并且能清楚地体现在这个繁华的街道中。特里亚纳是享受简单生活的地方。


TRIANA
In Seville, the fact of crossing the river and getting into Triana is like crossing an imaginary border where the logic of the generation of the historical city blurs. Triana is a quarter that displays itself at a small, close, almost domestic scale. It is a complex urban area which mixes neighbors’yards, craft workshops, popular homes and other type of housing which originated by the mid 20th century residential growth. In Triana there is a smooth coexistence of long and everyday traditional craftwork and artistic activities such as pottery, flamenco, etc, which are strongly identified with the area and which is clearly reflected in the bustling streets. Triana is the place to enjoy simple everyday life.

特里亚纳陶瓷博物馆/AF6 Arquitectos第4张图片
© Jesús Granada

陶瓷生产是特里亚纳的一个主要行业,特里亚纳城市的发展也正是起源于街坊间的陶瓷活动,有着鲜明的陶瓷文化印记。我们所在的地区是一个对现代建筑有着巨大的需求的地区。 在特里亚纳,我们无法找到新的大型公共建筑,不过在远离它的地方,我们找到了几处可以通过细微的修建改造来渗透这座城市的小型建筑,这为我们通过建筑探索城市的多样性,差异性提供了新的可能性。


The ceramic production was one of main crafts in which the development of Triana is based since its origin, existing thus a strong identity between the neighborhood and the pottery activity. We are in an area with enormous appeal for contemporary Architecture. In Triana we will not find new large public buildings, far from it we find places for alterations or infiltrations through slight modifications, allowing us to discover new possibilities in a diverse and heterogeneous urban configuration.

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平面图


遗产条件

      从外面看,建筑群展现了一个非常复杂的图像,讲述了一个有关特里亚纳内在文化(陶业,贸易,住房)的故事。它由两个互相关联的基地组成,基地上有三个彼此相连的建筑,但面向街道又呈现迥异的面貌。


HERITAGE CONDITIONS
From the outside, the complex shows a heterogeneous image that tells us a story inherently related to the culture of Triana (pottery industry, trade, and housing). It consists of two interconnected plots where there are three different buildings attached to each other with different facades onto the street.

特里亚纳陶瓷博物馆/AF6 Arquitectos第6张图片
© Jesús Granada

第一个建筑可以通往特里亚纳陶瓷博物馆的访客中心,外立面上有圣安娜陶瓷独特的广告牌。它的角度正好可以俯瞰Altozano广场,那是特里亚纳大桥的起始点。第二个房子是一个较低矮的建筑,拥有一个更朴素的工业化外观。最后一个,也是第三个建筑,它曾经是一个三层楼的建筑,在临街的一面有一个独立的出入口。


The first one provides access the Center Ceramica Triana and is faced with unique advertising tiles of Ceramica Santa Ana. It constitutes the corner that overlooks Altozano Square, rom which the Triana Bridge starts. The second one, lower in height, with an industrial and more austere appearance and finally, the third one which used to be a three-story building with an independent entrance from the street.

特里亚纳陶瓷博物馆/AF6 Arquitectos第7张图片
© Jesús Granada

特里亚纳陶瓷博物馆/AF6 Arquitectos第8张图片
© Jesús Granada

旧的厂房一直维持生产直到20世纪末期,所以它的许多设施都完整的保存在其原址上,包括:7个烧制窑,一口井,颜料厂,车间和仓库。在考古工作中,有除了直至16世纪末仍在使用的最古老的一批磁窑外的另外8个烧制窑被发掘出来。其中两个窑已被纳入该博物馆。旧工厂从外面是看不到的,它隐藏在组成城市形象的建筑后面。


The old factory kept its production until the end of the 20th century. This fact has permitted that many of its elements are complete and located in their original site: seven firing kilns, a well, pigments mills, workshops and warehouses. During archaeological works, remains of other 8 kilns, out of which the oldest ones were in use until the end of the 16th century, were found. Two of these kilns have been integrated into the project. The old factory is not visible from the outside; it is hidden behind the buildings which make up its urban image.

特里亚纳陶瓷博物馆/AF6 Arquitectos第9张图片
© Jesús Granada


策略

      陶艺中心是历史发展带来的产物,其内部空间不是基于形状,而是基于解决人们的需求:制造、扩张、集群、存储及现代化。该项目希望从当代视角出发,通过与此地复杂的环境共存创造额外价值。


STRATEGIES
The pottery centre is the result of a historical process where the inner space colonization is not based on the shape, but on the resolution of the arisen needs: manufacture, expand, host, store, modernize. The project is proposed as an extra process seen from a contemporary point of view, creating an added value with this complex coexistence.

特里亚纳陶瓷博物馆/AF6 Arquitectos第10张图片
场地平面图

特里亚纳陶瓷中心融入该地区复杂的肌理环境中去,营造出丰富的城市内部景观。新空间适应现有建筑的高度和形状,该项目的目标不是成为一个标新立异的建筑去改变特里亚纳的建筑轮廓。它没有外立面,一旦人们进入这些建筑群,就会发现里面别有洞天。


The Triana Ceramic Centre seeps into the quarter complex plot tissue, creating a rich urban inner landscape. The new spaces adapt their height and shape to the existing buildings. The aim of the project is not to be a visual referent to alter the architectural profile of Triana . There is no facade. The complex is meant to be a gift to be discovered once one gets into it.

特里亚纳陶瓷博物馆/AF6 Arquitectos第11张图片
© Jesús Granada


首层,工厂道路,迷宫

      在一层,建筑通过一条可以参观整个陶瓷窑炉的连续步行道路组织起来。通过圣豪尔赫街可以达到建筑的入口。一层由商店、新的工作室和由一个旧的陶瓷厂改成的新展厅组成。


GROUND FLOOR. PATH OVER THE FACTORY. A LABYRINTH.
On the ground floor, the building is organized to be visited on a continuous walk among the pottery kilns. The entrance is through San Jorge St. The ground floor is shared by the shop, the new workshop and the old pottery factory where the new exhibitions will take place.

特里亚纳陶瓷博物馆/AF6 Arquitectos第12张图片
图解

特里亚纳陶瓷博物馆/AF6 Arquitectos第13张图片
© Jesús Granada

特里亚纳陶瓷博物馆/AF6 Arquitectos第14张图片
© Jesús Granada

关于陶瓷的生产过程的描述是通过在其原本的背景下插入不同的陶瓷元素形成。我们提出在窑洞和旧工厂之间设置一个迷宫般的游走路线,来使游客了解传统的特里亚纳陶瓷是如何生产的。为了实现这一点,考古式的方法被运用在建筑设计中,这种方法在建筑中保留了时间和空间的痕迹(烟,障碍物,杂乱的东西,砖,木,灰),这些元素构成了遗迹的一部分内容。


A narrative of the ceramic production process is carried out by the use of different pottery elements inserted in its original context. It proposes a labyrinthine journey among kilns and old factory spaces which communicates the visitor how the traditional ceramic production in Triana was performed. In order to achieve this, an archaeological method is followed without erasing the time and space traces (smoke, disorder, chance, bricks, wood, ashes), elements which constitute a part of this Heritage.

特里亚纳陶瓷博物馆/AF6 Arquitectos第15张图片
© Jesús Granada


二层:展厅,陶瓷景观

      一个由陶瓷的碎片包围的悬浮的空间构成了二层的新展厅。其建筑逻辑与首层空间迥异,形成一个独立的建筑形态。本项目的楼下空间意图与地面建立起错综复杂的连接而楼上的建筑则与地面建筑在物理上是分离的独立结构,它借助界墙建立起一个规则的矩形参观路径。


FIRST FLOOR: EXHIBITION HALLS. POTTERY LANDSCAPE
The new exhibition area appears on the first floor through a suspended space surrounded by ceramic pieces. It is a separate building with an opposed logic to the one on the ground floor. The project downstairs is meant to be a labyrinth linked to the floor. On the other side, the construction upstairs is physically separated from the ground floor with an independent structure configuring a neat rectangular route which relies on the party walls.

特里亚纳陶瓷博物馆/AF6 Arquitectos第16张图片
© Jesús Granada

特里亚纳陶瓷博物馆/AF6 Arquitectos第17张图片
剖面图

生成的形状适应于每一个假设可以重新投入使用的窑洞组团。在参观展厅的时候,游客经历空间先扩散然后收缩的过程。展品放置在较开阔的区域,人们从狭窄区域可远观旧厂区。随后进入永久展出不同时期陶瓷作品的空间:中世纪,文艺复兴,巴洛克,十九世纪和二十世纪。
      然后一个由砖墙砌成的古老的两层建筑出现在基地的中心位置。这就是陶瓷画家曾经工作的地方,现在也用于临时展览。再往外走,有一个名为“特里亚纳在这里“的区域,作为解说中心用来为来特里亚纳旅游的游客提供服务。


The resulting shape adapts to the geometry of each one of the kilns group which could hypothetically start working again. During the tour through the exhibition, space expands and then shrinks. The exhibition galleries are located in the wider areas; from the narrow areas one can have a perspective of the old factory. Then there are spaces for the permanent exhibition of ceramics from different times: Medieval, Renaissance, Baroque, nineteenth and twentieth century.
Then an old two-story building with brick walls emerges in the centre of the plot. That is where the ceramic painters used to work and it is now meant to be used for temporary exhibitions. A little further towards the outside, there is an area called “Aquí Triana”, created as an interpretive centre for tourist routes in Triana.

特里亚纳陶瓷博物馆/AF6 Arquitectos第18张图片
© Jesús Granada

在二楼,嵌入外墙中间的材料加强了这个项目建造时想要表达的“积累过程“的概念。镀锌钢结构可以看作是一个大货架,上面看似凌乱地摆放了一堆四种不同尺寸的空心陶瓷片。这是为了保护建筑不受太阳的直接照射,也是为了给陶瓷厂一个不同的外观。


On the first floor, the interior wrapper of the facades reinforces the concept of accumulation process with which the project is built. A galvanized steel sub-structure thought as large shelves provides support for an apparently messy pile of hollow ceramic pieces in four different sizes. This action is meant for the protection from the sun depending on its direction and for the different looks to the pottery factory.

特里亚纳陶瓷博物馆/AF6 Arquitectos第19张图片
© Jesús Granada

特里亚纳陶瓷博物馆/AF6 Arquitectos第20张图片
© Jesús Granada

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平面图

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平面图

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立面图

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立面图

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剖面图

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细节

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© Jesús Granada

建筑设计:AF6 Arquitectos
地点:西班牙 塞维利亚 Alcalá de Guadaira, Calle Triana
设计团队:Miguel Hernández Valencia, Esther López Martín, Juliane Potter, Francisco José Domínguez Saborido, ángel González Aguilar
面积:2241.0平方米
年份:2010年
摄影:Jesús Granada
合作方:Angélica Cortés , Ana Blanco (竞赛部分), Elías Pérez, Rubén Ingelmo, Reyes López (项目部分)
文博项目:AF6 Arquitectos
博物馆策划: Alfonso Pleguezuelo Hernández
咨询顾问:DIMARQ S.L. (服务)
Architects: AF6 Arquitectos
Location: Calle Triana, 41500 Alcalá de Guadaira, Sevilla, Spain
Design Team: Miguel Hernández Valencia, Esther López Martín, Juliane Potter, Francisco José Domínguez Saborido, ángel González Aguilar
Area: 2241.0 sqm
Year: 2010
Photographs: Jesús Granada
Collaborators: Angélica Cortés , Ana Blanco (competition), Elías Pérez, Rubén Ingelmo, Reyes López (project)
Museology Project: AF6 Arquitectos
Museum Plan: Alfonso Pleguezuelo Hernández
Consultors: DIMARQ S.L. (services)

出处:本文译自www.archdaily.com/,转载请注明出处。
编辑:许航,陈晓东,卢荣姝

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