除了玩转空间，建筑的物质属性该如何被诠释阿利坎特当代艺术博物馆丨 AC

阿利坎特当代艺术博物馆

阿利坎特，西班牙

项目刊载于《建筑创作》2021年06期 “建筑中的玻璃”

本项目资料均由S-M.A.O. 提供

文字翻译：李晓君

至少对我们来说，所有的建筑创作过程都涉及到划定一片领域并展开探索之旅。在其中，不同的意图、策略和现实相互交织，构成项目的整体特质，最终，又在建筑中化为现实。

All architectural processes involve, for us at least, proposing and travelling through a territory in which different intentions, strategies and realities are intermingled, and giving rise to the totality of the project that is finally materialized in the building.

在旅程的终点，回望我们走过的路途，会发现，这一路上现实所施加的一切流动、变化和张力，都会在作品上留下它们的痕迹。这幅时间所绘就的画作，它的物质性、语言、空间关系，甚至是它作为一个物体的存在本身，都可能会呈现在建成的作品之中。

If at the end of the journey, looking back, we focus on the route that we have taken, the dèmarche, we can discern all the drifts, variations and tensions imposed by reality along the way, making their markson the project. This time-based sketch might be presented in the built work, its materiality, its language and its spatial relations, or even in its very existence as an object.

阿利坎特当代艺术博物馆鸟瞰

而这种本质也体现在了阿利坎特当代艺术博物馆中，作为一座建筑的存在，它承载并传达出了所有这些积攒下来的信息，也包括我们在抵达终点前所走过的曲折道路。

Something of this nature has emerged in the Alicante Modern Art Museum -MACA- where its presence as a building transmits all this accumulated information, the zig-zag path we have followed to get here.

如果我们要给这条路径取一个名字，或是把它和某种手法结合在一起的话，也许最接近，或最正确的一个选择会是 “空间的调子”（THE TONE OF THE SPACE），它衍生为三个相互叠加的不同手法：包括调整（Adjust）、压缩（Tighten）和时间（Time）。

If we were to give this path a name or conjugate it in an action, perhaps the closest or the most correct one would focus on –THE TONE OF THE SPACE–, which derives into three different overlapping actions: Adjust, Tighten and Time, as we suggested in an essay entitled THE TONE, published in SUITE I´N THREE MOVEMENTS (2001).

这和我们的自身经历有关，我们已经围绕这个主题耕耘了很多年。而随着时间的推移，在“调子”这个大主题之下，又逐渐发展出了各种不同的小主题、变化和趣味点，它们层层叠加，最终构建出了一个更复杂但也更紧凑的整体。最终，我们能够谈论的不仅是我们穿越过或感知到的空间，而且还有物体的本身，包括它们的物质性，它们对光线和环境的回应，以及它们对运动和时间的感知。

Everything is related to a realm of personal references, proposed for a field we have been working on for several years. Within this field –THE TONE– different micro-themes, variations and interests have been gradually superimposed with the passage of time, allowing a more complex but also more compact whole to be constructed. In the end, we can speak of the space we travel through and perceive, but also the objects, their materiality, their reaction to light and the landscape, their perception in relation to movement and time.

轴测图

也许，解读阿利坎特当代艺术博物馆的最佳方式是从关系的角度出发，从这个我们称为“调子”的游乐场出发。调整、压缩和时间这三个手法，创造出了不稳定但内在强大的联系，以一种和谐的方式，为这片游乐场带来了丰富的空间变化。物体和空间的存在与可见性，以及物体随着光线、运动和材料的改变而 “出现—变化—消失” 所形成的一系列感知，均是构建这件作品的核心要素。

Perhaps the best way to interpret MACA is from within this field of relations, this playing field we call TONE. These three actions - Adjust, Strain and Time - create unstable yet internally powerful connections, acting in consonance and generating as a result of the spatial variations of this playing field. The presence and visibility of the object and space, with the perception of the object’s appearance-movement-disappearance based on light, movement and material, is what ultimately constructs the project.

这座建筑专门用于收藏西班牙艺术家尤西比奥• 森佩雷的艺术作品，除此之外，也收藏了一批与他同时代的艺术家的作品，包括亚历山大•考尔德、维克托• 瓦萨雷里以及胡里奥• 冈萨雷斯等。这批作品均创作于20 世纪50 年代至70 年代之间，后来被捐赠给了这座城市。

The building is dedicated to the art collection of a Spanish artist Eusebio Sempere (1923–1985), consisting of works by Sempere as well as works by some of his contemporaries, including works from other artists such as Calder, Vasarely o Julio Gonzalez, all these made between 1950s to the 1970s, and donated to the city.

室内通高空间

森佩雷曾是欧普艺术圈（Op-Art Circle）中的一员，这是由瓦萨雷里领导的一场运动，特点是通过运用色彩、黑白纹理和叠合图案等手法，创造出具有运动和颤动幻觉的抽象艺术作品。这个原点将我们引领到了建筑的感知——造型领域，正如我们在其他项目中所展示的那样，而在这次的项目中，这种手法则显得更为恰当。

Sempere was a member of the Op-Art Circle, a movement leading by Vasarely himself, which features abstract art works that create the illusion of movement and vibration with the use of colors, black-andwhite textures and overlapping patterns.

This starting point led us to work on the perceptive-plastic realm of architecture, as we had done in other projects, all the more pertinent in this case.

欧普风格，图片来源：网络

20 世纪50 年代的动态艺术（kinetic art）通过运动、光线、几何和材料，通过运用光学原理和视觉表达产生的色彩、效果和幻觉，来实验各种有关感知的策略。早在20 世纪下半叶，许多艺术家就已经通过不同的形式（绘画、雕塑、摄影和影像）对可见光谱的感知及其艺术手法的运用进行了探索，并获得了清晰的认知。最近，乔治• 迪迪-于贝尔曼在他的文章中，以一种极具暗示性的、诗意的方式重新讨论了这一议题，游走于思想、诗歌和艺术之间。

In 1950's, kinetic art played with the strategies of perception through movement, light, geometry and materials; with colour, effects and illusions that emerged from the use of the rules of optics and their visual interpretation.

A clear awareness of our perception of the visible spectrum and its artistic manipulation was tackled by many artists in the second half of the 20th century in different formats (painting, sculpture, photography and video).

It has recently been revisited in a very suggestive, poetic way in DidiHuberman's essay, which move between ideas, poetry and art.

在这些反思中，迪迪-于贝尔曼清楚地解释了他的主张以及有关物体的视觉差异的发展，这和我们在这个项目中开展的工作非常接近。迪迪- 于贝尔曼用一句话总结了这个概念：“物体有两个相互矛盾的维度：一个可见的维度，和一个不可能的维度”。

In these reflections, DidiHuberman clearly explains his proposition and development of a visual differentiation in relation to the object, which is very close to our work in this project. Didi-Huberman summarizes the concept in a sentence: “The object has two contradictory dimensionalities: a visible dimension and an impossible dimension”.

1964 年，弗兰克• 斯特拉在谈论他著名的极简主义作品时说道：“绘画基于这样一个事实：只有那些你能看到在那里的东西在那里，它是真实的一个物体……你看到的就是你看到的”。这句话非常准确地定义了他的感知模式，提出了一个非常具有物理性和存在性的术语，抹去了所有的时间性，而加入了视觉上的确定性，它是一种可测量的存在，一种不变的、凝固的视角。

In 1964, Frank Stella talked about his famous minimalist work: “Painting is based on the fact that only what you can see there is there. It is a real object … what you see is what you see”.

Stella’s aphorism is a very accurate way of defining his perception model, proposing very physical, very presential terms, erasing all temporality and inserting visual certainty, a measurable presence, an unaltered, frozen gaze.

这个原本相当简单的立场实际上所需要的精密和复杂程度非常高，它甚至可以操控准人为改动的水平，以达到一种明显的 “自然性”，因为他的作品不需要光辉，不需要阴影，不需要张力，也不需要光线的变化，甚至不需要任何一粒尘埃。

This initially quite simple position actually requires a highly complex degree of sophistication which can even manipulate paradoxical levels of quasi-artificial alterations in order to achieve an apparent “naturalness”, as his work requires no brilliance, no shadows, no tensions, no changes of light and not even a speck of dust.

而在同一时期，唐纳德• 贾徳也以几乎同样的方式对待这个问题：“我们必须制造出一种物体，除了它自身的物理体积之外不被任何东西所呈现或描述，也不会在其自身之外创造时间或空间”。这种经典方法是基于这样一个观点，即，物体的可见维度存在于它最绝对的物理本质之中，存在于它自身的体积之中，而不涉及任何时间或空间的因素。

During this same period, D. Judd approached the issue in almost the same way: “We have to produce an object that is not presented or represented by anything but its own objectual volumetrics, an object that will not invent either time or space beyond its own self”.

This classic approach is based on the presence of the visible dimension of the object in its most absolute objectual essence, in its own volumetrics, with neither time or space.

而迪迪-于贝尔曼提出的另一个维度，则恰恰与这种经典的、极简主义视角的、基于物体自身可见存在的观点相反，他称之为“不可能”的维度：也许不可能测量，不可能量化，不可能改变；存在一个先前未经定义的、不稳定的、始终不断变化的维度。一个可变的维度被置于现实的尺度之中，置于“视觉的秩序之中”，在这里，物体被分解、改变、修正，它会发生变异甚至消失，这一切均取决于构建它的整套意义和感知，包括：概念、想法、诠释、形式、体积、光影、轮廓- 背景、纹理、物质、质量、重量、去物质化；或是它对光线、色彩、运动、时间、环境，以及观察者或艺术家提出的所有关于感知的、感官的、技术的和概念的各个方面的回应。这些有关感知、感官、能量或触觉的特质，与物体的存在性相关，因此被作为信息加以处理，通过叠加、调节、改动、编纂等方式，影响物体本身的自带属性。

In contrast to this classical, minimalist vision of the object based on its own visible presence, DidiHuberman suggests another dimension, what he calls “impossible”: perhaps impossible to measure, to quantify, to modulate; with a previously undefined, unstable,

changing dimension.

A variable dimension is installed between scales of reality, “between the visual orders”, in which the object breaks up, changes, modifies, mutates or even disappears, depending on the entire set of meanings and perceptions that build it: concept, idea, representation, form, volume, light-shadow, outline-background, texture, matter, mass, weight, dematerialization; or in its reaction to light, colour, movement, time, landscape and all the perceptive, sensorial, technical and conceptual proposed by the observer or the artist. The perceptive, sensorial, energetic or haptic sphere, in relation to the presential, is thus processed as information that overlaps, conditions, changes and codifies the genetic burden of the object itself.

这些不断变化的信息会在其他感觉和感知上凝聚，而又会反过来改变它们。这个新的物体不再是以极简主义者眼中的那种物体的形式出现，而是被分解成大量的诠释和表达，只不过是用一个物体的形式把它隐藏起来，进而创造出一片新的领域。在这当中，有一个关于空间的效果，我们想要好好挖掘。这种更密集的、但也更难定义的情况，与那种可见的、但也存在“不可能”理解或定义的困难的情况是共存的。这两种立场都十分明确，而且也有可能在其自身规则的范围内，获得丰富程度相当高的精巧和复杂，并能创造出各种兼具理论性、诗性和可塑性的微观世界，时至今日，在几乎每一个美术领域中，它们仍然被广泛地检验。

This information, in constant flux, agglutinates on the basis of other sensations perceptions, which also change it.

This new object is no longer presented as a minimalist-object, but rather one that has been broken down into a multitude of representations and expressions that hide it as an object in order to generate new spheres, amongst them a spatial halo that we want to

work with.

This much denser but also more difficult to define situation coexists with the visible, but also with the “impossible” difficulty of apprehending or defining.

These two positions are clear and may, within the realm of their own rules, acquire highly enriching levels of sophistication and complexity, generating a multitude of theoretical, poet and plastic micro worlds that are still being widely tested in practically every sphere of the fine arts.

在阿利坎特当代艺术博物馆中，我们想要保证物体的存在本身和感知的微观世界这两个方面的共存，并展现在那些经过投影、调整、压缩和修正的空间片段中。这些空间可以被归纳或概括为两种类型：

In the MACA building, we wanted to ensure the coexistence of two facets: the presential object alongside perceptive and sensorial micro-worlds, reflected in spatial episodes that are projected, adjusted, tensed and tuned.

These spaces can be synthesised or summarised on the basis of two generic situations:

一种是连续的、有节奏的空间，光和形式均匀地分布，就像真实的物体一样。这类空间通常保持一种稳固、恒定的特质，但它也会存在某种张力，会有细微的光线变化。这类空间主要体现在展览区；

• Spaces that rely on sequential, rhythmic situations with a homogeneous presence of light and form as objects; spaces that usually remain inert, constant yet in tension, with small inflections of luminous nuances. These spaces are essentially expressed in the exhibition area.

展览区

而另一种空间则是基于不断变化的微观环境，变化又是基于各种因素，包括：运动（光的颜色）、感知、反射、光学游戏以及环境。这类空间主要集中在上层，包括三个庭院（金色、白色和镜面）以及建筑的玻璃屋顶。

• Spaces based on changing micro-situations in relation to movement–the colour of the light– , perception, reflections, the play of optics, –moiré–, the landscape, primarily concentrated into the spaces found in the upper room, in the three exhibition-patios (golden, white and mirrored) and the building’s glass roof-facade.

庭院平面图

金色庭院

白色庭院

镜面庭院

屋顶视角

关于这个项目最初的目标，我们在为SUITE（2001）一书撰写的文章《调子》中就已有过描述：“在阿利坎特当代艺术博物馆中，我们采用了空间生成的概念，以水平和垂直空间相互交替的切分投影为基础，一切被容纳在一个石头盒子之中，以回应场地的要求。”

The initial aims of the project are described in our article THE TONE for the book SUITE (2001): “In the Alicante Museum of Modern Art, we have adopted a position of spatial genesis, based on a syncopated projection of alternating horizontal and vertical spaces, enclosed in a stone box that adapts to the site requirements”.

庭院立面

现在，这些目标已经得到了进一步的细化和加强，基于兼具韵律感和连贯性的空间所创造的双重感知，建筑拥有了更大的复杂性，无论是在垂直还是水平维度上，很大程度上都受到了它们作为变化中的均质空间，或者说是被色彩浸染的空间，基于运动而产生的空间，最终被定位在感知层面上的空间等诸如此类的表达方式的影响。

These aims have now been nuanced, enhanced and given greater complexity on the basis of this dual perception of rhythmic, concatenated spaces, both vertical and horizontal, heavily influenced by their expression as homogeneous spaces in inflection, or as spaces impregnated with colour, or as spaces generated on the basis of movement; spaces which ultimately sit between the levels of perception.

而在更大的尺度上，我们的方案从一开始就认为必须考虑到博物馆所在的阿利坎特市中心的位置，其中，起到决定性作用的因素包括：不同的街道海拔（>10 米）、周边建筑的某种语言、它所在的环境、朝向，除此之外还有山上的城堡、海平面、邻近的小广场还有前方的圣玛丽亚教堂，它们都共同营造出了某种氛围。在这层意义上，不论是各种物质或感知层面的参考，还是阿利坎特市中心的环境，都暗示出了理解和发展这个项目的最佳思路，包括如何处理布局、空间以及感知等。

At a wider scale, the starting points for our proposal had to include the museum’s location in the city center of Alicante, with its decisive aspects such as varied street levels (>10 m), a certain language of the surrounding architecture, and its context, or the orientation, all providing a certain atmosphere, with the presence of the castle uphill, the sea horizon, the proximity of a small square, and the Santa María Church up front.

In this sense, both the materiality and perceptive references and the context of the city center of Alicante, suggest a prior way of understanding and developing the project, both in the layout and in the spatial or perceptive solutions.

区位图

任务书要求对阿塞古拉达宫进行翻新。这是一座17 世纪的建筑，当时已经被用作博物馆，此外还要求利用街区的剩余位置加建一座新建筑对其进行扩建。这座新建筑采用了来自趣伏里的石灰岩作为墙壁的石材，这种厚重的语言，一方面回应了圣玛丽亚教堂和老城区的宗教语言，另一方面，也将现存的建筑整合到一个单一的体量中，使经过修复的旧建筑也能够承载博物馆的其它功能。

The brief required the refurbishment of the Asegurada Palace, a building dating from the 17th century which was already being used as a museum, and its enlargement with a new building that completed the rest of the block.

The use of stone, travertine form Tivoli with a wall, heavy language, relates to the conventual language of the Santa María Church and the old city, as well integrating in a single volume the preexisting building, which is restored to house other functions of the museum.

石灰岩石材

这样一来，博物馆所在街区的整体就通过一种相似的方式完成了表达，既避免了照搬原有的建筑，又实现了融合。这个关乎城市视角的厚重体量，与建筑上部的丝网印刷玻璃形成了对比，丝印镜面创造的动感叙述着山丘和天空的故事，构成了一个感知游戏，这正是采用了我们之前提到过的20 世纪50-60 年代的动态艺术语言。

This way the totality of the block the museum stands in is completed with a similar expression, seeking integration while not reproducing the pre-existing buildings.

This monolithic volume, relating to the city and its point of view, contrasts with the upper portion of the building in serigraph glass, which speaks of the hill and the skies and creates games of perception, using a language of the kinetic art of the 50s and 60s we referenced before, with the use of a serigraph mirror, which moves in a kinetic manner.

博物馆入口视角

这片区域中的墙体被切开，目的是为了是让光线进入到博物馆中，而玻璃表皮则在控制阳光方面发挥了更加重要的作用，这也是博物馆实现光线控制的一个重要方面。北向柔和而持续的光线勾勒出了展览空间：首层是一个连续的水平空间，在垂直方向上有一定的凹进和突出；二层是一系列受首层垂直通高空间切割而形成的交错空间；顶层则是一个充满张力的水平空间，在这里，垂直和水平空间切分交替。

In the areas in which the wall is pierced to allow light to enter the museum, the glass skin is even more important as it also fulfills a solar control role, which is a vital aspect of light control in a museum. Diaphanous and continuous light from the north frames the exhibition spaces: first, a continuous horizontal level with vertical compressions and expansions; second, a level of crossing rooms related to the vertical expansions; and finally, on the top floor, a horizontal space in tension with the syncopated vertical and horizontal spaces.

室内空间

这个空间将三个庭院（镜面、白色和金色）和三个光学游戏（与20 世纪60 年代的动态艺术作品相类似）结合起来，在室外空间中表现了尺度的变化以及对周边景物的反射。

This room binds the 3 courtyards – mirrored, white, and golden – with 3 optical games similar to those produced by the kinetic artists of the 1960s, taken to the space outside with its changes in scale and reflections of its surrounding.

同时看向三个庭院

在北边光线的照射下（最适合欣赏艺术作品的光线），这种感知的体验与素净的空间形成了对照。架设在石材立面顶部的玻璃盒子试图创造出和我们提到过的动态艺术作品相同的效果和感觉。这个部分是博物馆整体设计的关键一环，它的双层表皮是由两层丝网印刷组成，经过重叠之后，产生了一系列镜面图案，既能够和周边环境发生互动，又能够在反射周围景物的过程中，形成不同的光线和纹理。

The perceptive experience contrasts with the neutral space, with the northern light optimal for viewing works of art.

The glass box sitting on top of the stone facade tries to compel the same effects and sensations that the kinetic art we mentioned above.

This key element of the overall design of the museum is made from a double skin consisting on two screen-printed layers that overlap, creating mirrored patterns that interact with their surroundings and contribute with different lights and textures by reflecting these same surroundings.

表皮的内层由复合板制成，带有两种不同的金属灰色丝印设计图案，它贯穿了整座建筑的立面。而外层则是由玻璃制成，包裹着建筑的上部以及屋顶，在巨大的石灰岩墙之上构建了一个完整的玻璃盒子。这层外表皮同样带有两种不同的丝网印刷设计图案，能够以多种方式进行组合。这些设计图案被制成两种不同的丝网，经过翻转、重新排列和切割，实现了非常多的可能性。白色的外层基础玻璃板与金属灰色的内层经过叠合之后，形成了理想的摩尔纹效果，它会随着日光和观赏者的视角（站在街道上或是建筑上）的变化而变化。

The inner layer consists of a composite panel, with two different silk-screen grey-metallic designs that were arranged throughout the building façade. The outer skin is made of glass, that wraps the upper portion of the building and its roof, creating a complete box of this material, that

sits upon the massive travertine wall.

This outer skin is also screen printed with two different designs that arrange themselves in several ways. These designs were made into two different silk-screens that were turned, re-arranged and cut to achieve the maximum number of possibilities.

The basic outer glass panel were printed in white, which overlaps

with the metallic-gray of the inner skin, creating the desired moiré effect, effect that varies with the light of the day and the point of view of the user at a street level and from above.

同样的技术和建造方式也被应用到了庭院中，使之成为了新建筑上层展览区的焦点。

Inside, the same technique and construction is carried out to the courtyards, as the focus points of the exhibition area in the upper level of the new building.

为了探索设计的不同可能性，让空间发挥出最大潜能，这三个庭院采取了三种不同的处理方式。外层的玻璃表皮经过丝印形成了白色、金色和镜面三种不同的效果，以不同的方式对周边环境做出了回应。为了实现整体的融合和效果的最大化，这些庭院均铺满了与玻璃颜色相同的大理石地板，为庭院的光线增添了某种质感。

These three courtyards have three different treatments that explore the different possibilities of the design, taking it to its maximum potential.

The outer glass skin is silk-printed in 3 different colors, white, gold and mirror, to create three unique situations that react differently to its surroundings.

To round-up and maximize the overall effect, the floor of those courtyards is full filled with marbles of the same color as that of the glass, creating a certain quality to the light of the courtyards.

白色庭院

作为项目的最大亮点，这三个庭院营造了三种不同的场景氛围，创造了三种光学游戏，向博物馆所承载的艺术作出了致敬，同时也让它所使用的材料—玻璃，发挥出了极致的性能和水准。

These courtyards, as a crowning piece of the project, create three different situations and optical games that pay tribute to the art the museum harbors while bringing the material used, glass, to its maximum capacity and level.

项目信息

MACA-Alicante Museum of Contemporary Art

Architects:

Sancho-Madridejos Architecture Office.

Juan Carlos Sancho, Sol Madridejos

Project Director: Ana Vinagre

Design Team: Esther Jimenez, Marta Toral, Andrey García, Carlos Chacón, Sebastián Severino, Mafalda Ribeiro, Friedrich Jan Rohe, Ernesto Revilla, Itziar Quirós

Location: Alicante, Valencian Community, Spain

Design: 2002

Completion: 2010

Client: Alicante City Council

Area: 5800㎡

Consultants: Mariano García (building engineer), NB-35 (structure engineer), R. Úrculo Ingenieros Consultores (MEP engineer)

Contractor: Intersa Levante

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