该中心位于普拉森西亚郊区的城市和乡村之间的边界,是被不太人性化的人类所触及的地方和被千年气候所触及的地方之间的边缘。被人类触及的地方在几年内用小铲子的扫荡掩盖了这些千年的痕迹。这很奇怪,甚至在经济上也是如此,因为要做到这一点,必须建造15米高的护城墙。因此,从一开始,从竞赛设计开始,我们就很清楚地看到,这项工作包括在边界的两面中选择一个:属于城市,属于我们这一代人所接触过的东西,或者属于缓慢。在这些条件下,不可能同时属于这两方面。

The centre is on the boundary between the town and the country, in outskirts of Plasencia, the edge between what has been touched by a less artificial humanity and what has been touched by millennia of climate. What has been touched by humanity has covered up those millennia with the sweep of a trowel in a few years. This is strange, even economically, because to do so, 15m high retainer walls had to be built. Thus, from the outset, from the competition design, we saw quite clearly that the work consisted of choosing between one of the boundary´s two sides: belonging to the city, to what has been touched by our generation, or belonging to slowness. Under these conditions it was impossible to belong to both.

在选择了第二种方案后,我们发现自己不得不把建筑放在比街道低得多的水平上,因为两个世界之间存在着相当大的高度差。人工世界创造了一个17米高的堤坝,覆盖了自然轮廓,现在被埋在下面。作为对这种不可阻挡的服从的反应(sous les paves, les 17 meters de paves, la plage),我们决定我们的解决方案将最大限度地尊重土地,依靠和覆盖尽可能少的分配面积。

Having been chosen by the second option, we found ourselves forced to rest the buildings on a much lower level then the street due to the considerable height difference between the two worlds. The artificial world had created a 17 m high embankment that covered the natural contours , now buried below. In reaction to this unstoppable submission (sous les paves, les 17 metres de paves, la plage), we decided that our solution would have a maximum respect for the land, resting on and covering the least possible area of the allotment.

我们计划让这座建筑为一种不同的方法奠定基础,并在未来的扩展区保留一个自然土岛,即使这意味着成为海中的一个小水坑,作为未来其他建筑的可能试剂,这些建筑将发现自己被插入,并在这片被打碎的海中被搁浅:埃斯特雷姆杜拉的乡村被用作相当于海洋。

We plotted to make this building set the stage for a different method and preserve an island of natural earth in the future expansion zone, even if it meant being a small puddle in the sea, as a possible reagent for the rest of the constructions to come, which will find themselves insinuated and become beached similarly in this whiffed sea: the Extremdura countryside used as an equivalent for the ocean.

勿忘我。我们喜欢这朵花的名字,也喜欢它是一朵花的事实。萨拉曼卡高速公路、以前的白银路以及未来的白银高速公路都从配房的西侧经过,这里也是加塔山脉的最佳景观。

Forget-me-not. We like the name of the flower, and also the fact that it is a flower. The Salamanca highway, the former Silver Route and the future Silver Motorway as well, all run past the western side of the allotment, which also has the best views of the Gata Range.

从整个西部的角度来看,从北到南都可以看到该建筑的远景。它将在汽车高速经过时被看到,这就是为什么我们把它规划成一个快照或发光的形式,在白天和晚上作为乘客的标志,在感觉和现实之间,在它似乎要去的位置和它将移动的位置之间发挥对应作用。

The building will be visible in the distance from an entire western perspective, from north to south. It will be seen when passing by at high speed in a car, which is why we have planned it as a snapshot or a luminous form, acting as a sign for passengers by day and by night, playing at being a correspondence between sensation and reality, between the position it seems to be heading for and the position from where it will move.

勿忘我……告诉我,它的最后一面是否在你心中引发了与乔治-桑对福楼拜一样的提醒:”不要定义形式,不要打扰……” 我们的形式是由于建筑的断面;正如我们所说的,是由于将尽可能小的部分放在地面上的想法,这与舞台区和主厅的层数相一致。这个大厅的部分是继续定义和完成的形式,在它上面叠加了其余的简介:入口大厅,可容纳300人的副厅,可分为三个,每个100人,展览厅和餐厅区。

Forget-me-not…tell me if its final aspect triggers in you the same reminder as George Sand´s for Flaubert, “ Do not define the form, don´t bother…” The form of ours is due to the building´s section; due, as we have said, to the idea of resting the smallest possible part on the ground, which corresponds to the stage area and the tiers in the main hall. The section of this hall is what continues to define and complete the form by superimposing the rest of the brief on top of it: the entrance lobby, the secondary hall for 300 people, which can be divided into three for 100 spectators each, the exhibition halls and the restaurant area.

入口在城市化的街道上,比建筑的最低部分高出17米,使用一个橙色的舷梯,到达一个12米深的相同颜色的垂直峡谷,在那里,乡村的景色,加塔山脉的支脉,得到了强调。从这里可以在中央的混凝土外壳周围移动,在一组斜坡和螺旋楼梯上上下下,将外部和内部空间结合起来。这有两个原因:经济和开支。通过不进行气候调节或使用玻璃来封闭某些部分来实现经济。由于气候的混合,空间的交叉–从里到外–造成了支出。

The entrance is on the urbanized street level, more than 17 meters above the lowest part of the building, using an orange gangway that arrives at a 12m deep vertical canyon in the same colour, where the views of the countryside, the spurs of the Gata Range, are accentuated. From here it is possible to move all around the central concrete shell, go up or down on a set of ramps and spiral stairs that mingle exterior and interior spaces. This is for two reasons, economy and expenditure. Economy by not climatising or using glass to enclose certain parts. Expenditure due to a crossing of spaces –in-out-in on account of the mixture of their climates.

Architects: Selgascano
Area: 80729 ft²
Year: 2017
Photographs: Iwan Baan
Manufacturers: EGE, Fiberline, Lastra y Zorrilla, Plexiglas, AIR-board, Nowofol, Walker
Lead Architects: Jose Selgas, Lucia Cano
Design Team:José de Villar, Carlos Chacón, Julio Cano, Lara Resco, Lorena del Río, Manuel Cifuentes, Beatriz Quintana, Jeongwoo Choi, Laura Culiañez, Bárbara Bardin, Johannes Riekert, Cristina Gutierrez
Architectural Assistant:Manuel Trenado
Structural Engineer, Facada Structure:FHECOR ingenieros consultores
Mechanical:JG ingenieros
Acoustic Engineer:ARAU ACUSTICA
Textil Arquitectures:LASTRA ZORRILLA
General Contractor:PLACONSA-JOCA
Owner:JUNTA DE EXTREMADURA
City:Cartagena
Country:Spain