架构师提供的文本描述。传统上，建筑学把注意力集中在诸如结构、形式或空间等概念上，把其他问题(如装饰物或饰物)放在次要位置，把它们视为与手工艺甚至与女性有关的“次要”作品。这种不平衡，继承了精英和父权制的职业理解方式，奖励其他概念，如高成本、精细材料或结构努力，将它们与纯粹、准确甚至是男性等表面上“可取”的价值观联系起来。当我们决定使用某种材料或颜色，例如软材料，或使用装饰性几何图形时，我们不仅为用户提供了一些特定的物理属性，而且我们还在与建筑史或我们社会的象征想象中讨论某种颜色或材料。我们理解，建筑在建设公平和民主社会方面发挥着关键作用，负责为同居和建立关系建立空间。因此，我们的注意力集中在研究我们的实践能以何种方式在这一过程中利用新的工具作出贡献。

Text description provided by the architects. Traditionally architecture has focused its attention in concepts such as structure, form or space, relegating to a second place other issues such as finishings or ornaments, by considering them as “minor” works linked to crafts or even to the feminine. This imbalance, an inheritor of an elitist and patriarchal way of understanding the profession, rewards in contrast other concepts such as high cost, fine materials or structural effort, associating them to apparently “desirable” values like pure, accurate, or even virile.  When we decide to use a certain material, or a color, for instance the soft materialities, or the use of ornamental geometries, we are not only offering some certain physical properties to the user, but we are also setting a discussion with the history of architecture or with our society’s symbolic imaginary given to a certain color or material. We understand that architecture takes a key role on the building of fair and democratic societies, in charge of building the spaces for cohabiting and for relationship. Hence our attention on researching in which way our practice can contribute with new tools in this process.

Text description provided by the architects. Traditionally architecture has focused its attention in concepts such as structure, form or space, relegating to a second place other issues such as finishings or ornaments, by considering them as “minor” works linked to crafts or even to the feminine. This imbalance, an inheritor of an elitist and patriarchal way of understanding the profession, rewards in contrast other concepts such as high cost, fine materials or structural effort, associating them to apparently “desirable” values like pure, accurate, or even virile.  When we decide to use a certain material, or a color, for instance the soft materialities, or the use of ornamental geometries, we are not only offering some certain physical properties to the user, but we are also setting a discussion with the history of architecture or with our society’s symbolic imaginary given to a certain color or material. We understand that architecture takes a key role on the building of fair and democratic societies, in charge of building the spaces for cohabiting and for relationship. Hence our attention on researching in which way our practice can contribute with new tools in this process.

 © José Hevia

(JoséHevia)

从这个意义上说，这个项目试图重新定义一个商店的经典配置，严格意义上是为了销售产品，并且做一个更复杂的建议。“石窟”是一个空间，在那里，除了看到和购买瑞士品牌的古典手表，它的注意力集中在为会议创造一个地方，我们可以在那里提出其他公共活动，如讲座、讲习班或辩论。为此目的，提出了一个单一的、有机的、柔软的、喜庆的、有地质参考的空间。

In this sense, the project tries to redefine the classic configuration of a store that is strictly intended to the sale of products and do a more complex proposal. “Grotto” is a space where, as well as seeing and buying the classical watches of the Swiss brand, the focus of its attention is to generate a place for meeting where we can propose other public activities such as lectures, workshops or debates. For that purpose a single, organic, soft, festive, and with geological references space is proposed.

In this sense, the project tries to redefine the classic configuration of a store that is strictly intended to the sale of products and do a more complex proposal. “Grotto” is a space where, as well as seeing and buying the classical watches of the Swiss brand, the focus of its attention is to generate a place for meeting where we can propose other public activities such as lectures, workshops or debates. For that purpose a single, organic, soft, festive, and with geological references space is proposed.

 © José Hevia

(JoséHevia)

这样，空间就会产生用户可以选择如何生活的地方。(s)他可以以40cm的高度或2米的高度座位。单独或与其他人一起使用。(s)他可以冷静，喝咖啡或者爬墙。为此，我们受到了洞穴、洞穴或采石场等空间的启发。光如何进入它们，以及它们如何产生可认可的空间。

In this way the space generates places where the user can choose how to live them. (S)he can seat at a 40cm height or at a 2m height. Either alone or with other people. (S)he can chill and have a coffee or climb the walls. To this end we get inspired in spaces such as caves, caverns or quarries. How the light gets in them, and how they generate appropiable spaces.

In this way the space generates places where the user can choose how to live them. (S)he can seat at a 40cm height or at a 2m height. Either alone or with other people. (S)he can chill and have a coffee or climb the walls. To this end we get inspired in spaces such as caves, caverns or quarries. How the light gets in them, and how they generate appropiable spaces.

 © José Hevia

(JoséHevia)

例如，如果没有全球变暖、新技术的影响或性别二元论的终结等其他利益集团的参与，就无法理解当时的创造。这个项目以这些新的思维状态为出发点，在那里我们有其他的参照，大自然更有现实性，我们更加意识到我们的影响超越了我们真正产生的东西，无论是物质上的还是象征上的。

The contemporaneous creation can’t be understood without the participation of other interests such as global warming, the impact of new technologies or the end of gender binarism, for instance. The project takes as a starting point these new states of mind where we have other referents, where nature is more present, where we are more conscious that our impact goes beyond what we really produce, both in a material and symbolic way.

The contemporaneous creation can’t be understood without the participation of other interests such as global warming, the impact of new technologies or the end of gender binarism, for instance. The project takes as a starting point these new states of mind where we have other referents, where nature is more present, where we are more conscious that our impact goes beyond what we really produce, both in a material and symbolic way.

 © José Hevia

(JoséHevia)

在施工过程中，该项目组织在六个圆顶上，围绕着一个中央支柱连接在一起，使空间、功能和结构重合在一起。这些圆顶的顶部允许通过一个隐藏的照明系统进入一个花卉图案后面的照明系统，如果愿意的话，它可以通过其投射的阴影引起空间的突出显示。垂直穹顶墙是有机变形的，以便吸收一部分拟议的功能，使用开口或孔作为座椅或临时组合的组合。最后，最大的穹顶被用作主要的购物空间。一种专门为这一场合而制作的窗帘，由链子和泡沫块组成的悬链系统，包裹着手表的展览空间，并获得了在复杂建筑中观看和销售的独特体验。

Coming to its construction, the project is organized in six domes that are concatenated around a central pillar and making space, function and structure coincident. The top part of these domes allows the access of light through a hidden lighting system behind a floral pattern that, if wished, it can cause the highlighting of the space through its projected shadows. The vertical dome walls are organically deformed so to absorb a part of the proposed functionality, using openings or holes as seats or improvised tribunes. Finally, the biggest dome is used as the main shopping space. A curtain specially built for the occasion through a catenary system made out of chains and foam pieces wraps the exhibition space for watches and achieves a unique experience of watching and selling in the complex.

Coming to its construction, the project is organized in six domes that are concatenated around a central pillar and making space, function and structure coincident. The top part of these domes allows the access of light through a hidden lighting system behind a floral pattern that, if wished, it can cause the highlighting of the space through its projected shadows. The vertical dome walls are organically deformed so to absorb a part of the proposed functionality, using openings or holes as seats or improvised tribunes. Finally, the biggest dome is used as the main shopping space. A curtain specially built for the occasion through a catenary system made out of chains and foam pieces wraps the exhibition space for watches and achieves a unique experience of watching and selling in the complex.

 © José Hevia

(JoséHevia)

Architects TAKK

Location Madrid, Spain

Authors Architects Mireia Luzárraga, Alejandro Muiño

Project Year 2018

Photographer José Hevia

Category Retail