位于Sant Just Desvern(巴塞罗那)的瓦尔登-7(1973-75)项目是里卡多-波菲在20世纪60年代和70年代在西班牙地理的不同地方发展的实验性城市主义的顶点。在锡切斯、雷乌斯和卡尔佩建造的一系列项目,以及在马德里建造的失败的 “空间之城 “乌托邦,以瓦尔登-7的建造而告终,这是他到那时为止最雄心勃勃的项目,但也是最具争议性的项目:其结构所产生的问题随着时间的推移而延伸,以至于在80年代考虑拆除整个建筑。最后,经过昂贵的干预,该建筑被列为遗产资产。

The project of Walden-7 (1973-75) in Sant Just Desvern (Barcelona) is the culmination of the experimental urbanism Ricardo Bofill developed during the 1960s and 70s in various places of Spanish geography. The series of projects built in Sitges, Reus, and Calpe, along with the failed utopia of the City in Space in Madrid, concludes with the construction of Walden-7, the most ambitious of his projects until that point, but also the most polemic: the problems derived from its structure extend over time, to the point in which the demolition of the whole building is considered in the 1980s. Finally, and after a costly intervention, the building is listed as a heritage asset.

在修复现有结构被视为实现我们星球资源更可持续平衡的必要步骤的时刻,该建筑446套公寓中的一个翻新项目提出了一个额外的问题:我们应该如何处理当代建筑遗产。这是一座新近建成的建筑,它的作者仍然生活在这里,仍然活跃在他们的职业中。同时,这也是一件建筑作品,在被遗忘几十年后,由于其在社交媒体上的上镜率和恢复建筑中特殊实验精神的野心,目前正在复苏:有时来自社会、城市或游戏背景,有时来自纯粹的美学。

In a moment in which the restoration of existing structures is seen as a necessary step toward a more sustainable balance of our planet’s resources, the project for the refurbishment of one of the building’s 446 apartments presents the added question of how we should deal with contemporary architectural heritage. This is a building so recent that its authors still live and are still active in their profession. And this is, at the same time, a work of architecture that after decades of oblivion, it is currently reviving due to its photogenic presence on social media and ambition to recover a particular experimental spirit in architecture: sometimes from the social, urban, or playful background, other times from the purely aesthetical.

在两层楼中开发的四个模块定义了这个位于建筑第12和13层的住宅。底层被改造成一个宽敞的开放空间,而卧室则被安置在一楼。然而,在这个项目中,谈论背景和语言比讨论其空间的配置更重要。

Four modules developed on two floors define this dwelling situated on levels 12th and 13th of the building. The ground floor is transformed into an ample open space, while the bedrooms are placed on the first floor. In this project, however, it is more important to talk about context and language than to discuss the configuration of its spaces.

位于建筑群的中心部分,它对建筑的归属感几乎是不可避免的,甚至在其内部。公寓的每一扇窗户都有瓦尔登-7的碎片。北部房间的光线是绿松石色的,南部则是红色的。

Located in the central part of the complex, its belonging to the building is practically inescapable, even in its interior. Every one of the apartment’s windows frames fragments of Walden-7. Light comes in shaded in turquoise in the northern rooms, more reddish in the south.

在这种情况下,我们的干预措施必须与波菲建筑的丰富结构建立联系,但不要试图模仿它。该项目从外部引入了砖红色、深蓝色和沙子等闪光的颜色。波菲为公寓内部设想的地形,但很少被建造,被重新思考并适应新业主和未来用户的需求,宽大的长椅变成了沙发,最终与现有的楼梯连接,它被保留在上面的台阶上,只是被涂上了油漆。阶梯式的几何形状出现在浴室的双色调瓷砖的铺设中。而在建筑的配置和形态中无处不在的圆形,以各种方式体现出来:红色的台阶、灯光、拱形的分界线或镜子。

In this context, it was essential that our intervention established a connection with the rich fabric of Bofill’s architecture, but without trying to mimic it. The project introduces flashes of colors from the outside in brick red, dark blue, and sand. The topographies that Bofill envisioned for the interior of the apartments, but which were rarely built, are re-thought and adapted to the needs of the new owners and future users, with wide benches that turn into sofas, that end up connecting with the existing staircase, which is kept in its upper steps, only painted. The stepped geometry appears in the laying of the two-toned tiles in the bathrooms. And the circle shape, so ubiquitous in the configuration of the building and its morphology, materializes in various ways: the red step, the lights, the arched divisions, or the mirrors.

Architects: Bonell+Dòriga
Year : 2019
Photographs :Bonell+Dòriga
Lead Architects : Laura Bonell, Daniel López-Dòriga
City : Sant Just Desvern
Country : Spain