米拉萊斯-塔格利亞布EMBT建筑師事務(wù)所，巴塞羅那，西班牙

建筑設(shè)計(jì)：恩里克·米拉萊斯，貝娜蒂塔·塔格利亞布

米拉萊斯-塔格利亞布EMBT建筑師事務(wù)所，巴塞羅那，西班牙

建筑設(shè)計(jì)：恩里克·米拉萊斯，貝娜蒂塔·塔格利亞布

1 工作室所在建筑的立面復(fù)原圖/Restoration design of fa?ade

這座辦公室位于巴塞羅那中心一座優(yōu)美的現(xiàn)代主義建筑中，緊鄰蘭布拉大道和皇家廣場(chǎng)。大門上寫著1871年。在這個(gè)源于中世紀(jì)的地方，它作為19世紀(jì)末建筑的典型，一直是巴塞羅那老城建筑的范本：直通大堂，即威尼斯建筑的“主樓”，再由樓梯及其大廳通向其他房間。門廳十分通透，因?yàn)樗赖蔫F木混合結(jié)構(gòu)強(qiáng)度很高。由此再通向劇場(chǎng)般的多層大堂。

它的干預(yù)方案不能只是一次簡(jiǎn)單的修復(fù)，也絕不能破壞原物?；蛟S改造現(xiàn)有室內(nèi)空間的新方案會(huì)從對(duì)原建筑的解讀中得出。

結(jié)構(gòu)墻不但嚴(yán)格按照荷載條件加以保護(hù)，還用來組織新空間的結(jié)構(gòu)。為獲得更開敞的空間并保留縱深的視線，一些隔斷被拆除，只留下一些痕跡標(biāo)示著它們?cè)?jīng)的位置。這樣，天花板、地板和裝飾都得以保留，作為改造的遺跡。

這個(gè)解讀的過程輕松地布置了各個(gè)功能空間，同時(shí)尊重了用途的多樣性和靈活性。此外，建筑師自己設(shè)計(jì)的幾件家具和老家具并列在一起，讓這個(gè)室內(nèi)空間更有特色。

天花板、檐口和水磨馬賽克鋪地體現(xiàn)著原始的空間結(jié)構(gòu)。（尚晉 譯）

項(xiàng)目信息/Credits and Data

主創(chuàng)建筑師/Principal Architects: 恩里克·米拉萊斯，貝娜蒂塔·塔格利亞布/Enric Miralles, Benedetta Tagliabue

總面積/Total Area: 400m2

材料/Materials: 地板/Floor:“原”水磨磚打光/"Original" terrazzo tiles polished, 墻面/Wall: 灰泥和涂料/Plaster and painting, 天花板/Ceiling: 灰泥和涂料/Plaster and painting,墻燈設(shè)計(jì)/Wall Lamps Design: 恩里克·米拉萊斯/Enric Miralles

家具/Furniture: 所有家具都由建筑師挑選，部分家具（會(huì)議室的“不穩(wěn)桌”和門廳的家具）由建筑師本人設(shè)計(jì)/ All the furniture pieces were chosen by the architects, some of which were designed by the architects themselves, such as the table named "Inestable" in the meeting room and the furniture in the entrance hall.

攝影/Photos: Paolo Fassoli (Fig.2), Eugeni Pons (Fig.3,4,7-10)

2 工作II區(qū)/Working area II

3 工作I區(qū)/Working area I

The office is located in a beautiful Modernist building in the center of Barcelona. On the door is written 1871. It is characterized by its proximity to the Ramblas and the Plaza Real. While it stands on a site of medieval origin, the building is a typical example of late 19th-century architecture and reproduces a typology which has long been used in the old city of Barcelona: with direct access to a principal floor corresponding to a Venetian “piano nobile”, and then through a staircase and its grand hall leading to the rest of the house. The entrance hall is transparent thanks to the strength of an exquisite, mixed structure of iron and wood, which gives access to the multileveled grand hall resembling a theatrical space.

The intervention scheme must not be taken simply as an act of restoration, nor is it a process of destruction of the existing structure. Plans for new uses of the existing domestic space are likely to result from a proper interpretation of the original built-up reality.

the structural walls are conserved not only in their strict load-bearing condition but also as organizational mechanisms of the new spatial structure. Some of the partitions are demolished to obtain more open spaces and deeper perspectives, leaving just a few traces to mark their previous positions. Thus, the coffered ceilings, floors and decorations are conserved as traces of the original structure.

Through this interpretative process the function of individual space is easily realized with great flexibility and versatility. Meanwhile, furniture pieces designed by the architects themselves juxtapose with old ones, which contributes to the distinctiveness of the interior space.

Ceilings, cornices and terrazzo mosaic pavements exhibit the original spatial structure.

4 與工作I區(qū)相通的圖書和資料室/Library and archive space, annex to the working area I

5 平面布局/Plan layout

評(píng)論

張昕楠：如同米拉雷斯的草圖或平面一般，在EMBT工作室的設(shè)計(jì)中也能令人讀到一種宣言——一種在時(shí)空中彌散著的蒙太奇。在這里，解讀空間層次的路徑、穿墻而過的書架以一種連續(xù)的方式完成了從“房間”到“空間”的轉(zhuǎn)換；而保留的天花、地磚和裝飾在敘述自身歷史真實(shí)和原有房間領(lǐng)域的同時(shí)，也奏響了空間的旋律并定義空間的意義。這一宣言確如米拉雷斯在一次訪談中所談到的——我的作品僅僅是收集時(shí)間的機(jī)器，因?yàn)樗⒉淮嬖谟谀闵砗?，而是在你之前就已?jīng)存在。

范路：EMBT工作室是一個(gè)細(xì)膩微妙但又充滿想象力的改造設(shè)計(jì)。原住宅是一座建于1871年的漂亮房子。在其室內(nèi)更新過程中，富有特色的天花、地板及裝飾都被保留下來。為了獲得大空間，一些隔墻被拆除，但它們與主體結(jié)構(gòu)交接處的痕跡卻被保留下來。這些保留的碎片，仿佛來自某個(gè)考古現(xiàn)場(chǎng)。它們連同新加入的工作室家具和陳設(shè)，被白色的抹灰墻面粘成一個(gè)新的容器，形成了一個(gè)具有新結(jié)構(gòu)的空間。

6 修復(fù)前的入口及走廊/Entrance and corridor before renovation

7 將兩個(gè)工作區(qū)分開的主走廊/Main corridor that separates the two working areas

8 “不穩(wěn)定桌”/the "Inestable" table

Comments

ZHANG Xinnan: Just as in Enric Miralles's drafting sketches or architectural plans, there's a clearly legible declaration in the design of the EMPT studio: a certain type of montage that spreads wide into time and space. Here, the transformation from "room" to "space" is accomplished through a consistent sequence of space-interpreting physical passages, together with the wall-penetrating bookshelves. In the meantime, the preserved ceilings, tiled pavements and original decorations orchestrate the rhythm of the space and define its meaning while stating their own historical authenticity and original configuration. this declaration recalls what Miralles stated during one interview: "My design is merely a volume to receive time, for time is not something that exists after you, but is something that existed before you."

9 門廳內(nèi)擺設(shè)的新舊家具/Entrance with a furniture designed by the architects and an old cabinet

FAN Lu: the renovation project of EMBT office is an exquisite, sophisticated, and highly imaginative design. the original beautiful house was built in 1871. During the process of interior renovation, some characteristic coffered ceilings, floorings and decorations are preserved. To obtain more open spaces, some of the partitions are demolished, but the traces of junctions are kept. These preserved fragments seem to come from an archaeological site. they are pasted together with new furnishings by white plastered walls to shape a new container, a space with new structure.

Miralles Tagliabue EMBT, Barcelona, Spain, 1997

Architects: Enric Miralles, Benedetta Tagliabue

10 工作II區(qū)的墻燈設(shè)計(jì)以及保留的原有天花板/Wall lamp design and ceiling detail with original paintings in the working area II