© Enrico Cano

c.Enrico Cano

架构师提供的文本描述。位于桑坦德湾的艺术、文化和教育领域的Centro Botín将为该市修复阿尔巴雷达鼹鼠的巨大码头，该码头至今仍用作停车场。这是一个战略区域，俯瞰大海，靠近旧城中心，历史悠久的怡和德佩雷达(Jardines De Pereda)加强了这一区域。该中心得到桑坦德银行总裁埃米利奥·博廷(1934-2014年)的大力支持，并得到了Botín基金会的资助。Botín基金会是西班牙最重要的私人基金会之一，成立于1964年，目的是促进坎塔布里亚的社会、经济和文化发展。

Text description provided by the architects. The Centro Botín, a space for art, culture and education, projecting into the Bay of Santander, will restore to the city the immense dockland site of the Albareda mole, used until now as a parking lot. This is a strategic area, overlooking the sea, near the old city centre and enhanced by the historic Jardines de Pereda. The centre was strongly supported by Emilio Botín (1934-2014), president of Banco Santander and financed by the Botín Foundation, one of the most important private foundations in Spain, established in 1964 with the aim of fostering the social, economic and cultural development of Cantabria.

这个项目恢复了这座城市的历史部分与海洋之间的联系。这条将公园与海洋分隔开来的高速公路现在已通过一条隧道铺设到地下，使桑坦德的居民有可能将怡和德·佩雷达(​​the Jardines de Pereda)的面积扩大一倍，将其延伸至海滨，并恢复步行进入大海的通道。

The project restores the ties between the historical part of the city and the sea. The freeway separating the park from the sea has now been rung underground through a tunnel, making it possible to double the area of ​​the Jardines de Pereda, extending them to the seafront and restoring pedestrian access to the sea for Santander’s citizens.

 © Enrico Cano

c.Enrico Cano

在公园和海洋之间，在公共市场的轴线上，新的Centro Botín半壁江山，另一半悬吊在高跷上。这就避免了妨碍人们在公园漫步的海景和美丽的海湾景观，因为Centro Botín被树木的树叶巧妙地遮住了。由钢和玻璃组成的一系列轻型走道将建筑物的两个圆形空间分隔开来，并创建了一个全新的广场，位于高档以上，完全公开。然后楼梯和电梯通向文化中心的两个街区。从这里开始，海面上的“跳板”突出在鼹鼠上方20米处。

Hemmed in between the park and the sea, and on the axis of the public market, the new Centro Botín is half based on the land and the other half suspended over the water on stilts. This avoids obstructing  the view of the sea and the beautiful bay landscape for people strolling in the park, as the Centro Botín is cleverly masked by the foliage of trees. A series of light walkways of steel and glass separate the two rounded volumes of the building and create a new square set above grade and fully public. Stairways and elevators then lead up to the two blocks of the cultural centre. From here the “springboard” over the sea projects twenty metres beyond the mole.

 © Stéphane Aboudaram

(Stéphane Aboudaram)

 Floor Plan Level 1

1层平面图

Botín中心的两瓣结构是通过使用模型对设计进行了艰苦的逐步改进的结果。这产生了一种圆形的造型，为底层提供了更好的照明，并伴随着游客和市民从公园眺望大海的景色。构成这座建筑的两具尸体完全面对着28万个小物体，略圆的瓷砖，珍珠色和活力，反射阳光，闪耀的水，和稀薄的气氛坎塔布里亚。

The two-lobed form of the Centro Botín is the outcome of a laborious progressive refinement of the design with the use of models. This gave rise to a rounded form that provides better illumination of the ground floor and accompanies the view of visitors and citizens looking out from the park to the sea. The two bodies that make up the building are completely faced with 280,000 small, slightly rounded ceramic tiles, pearl-coloured and vibrant, that reflect the sunlight, the sparkle of the water, and the rarefied atmosphere of Cantabria. 

 © Enrico Cano

c.Enrico Cano

东卷内有一个高出两倍的礼堂，悬挑在海面上，北面则是教育中心：空间的设计具有最大的灵活性，以适应多种活动。礼堂被设想为一个多功能的盒子，可以举办音乐会、读物、讲座，也可以举办节日和仪式，而教育中心的房间则是为了提供各种大小的空间，为儿童和成人举办未来的创作艺术、音乐、舞蹈和烹饪讲习班。

The east volume houses an auditorium rising to double height and cantilevered over the sea, and to the north, the educational centre: spaces designed with the maximum flexibility to adapt to multiple activities. The auditorium has been conceived as a multifunctional box that can host concerts, readings, lectures, but also festivals and ceremonies, while the rooms of the education centre are designed to offer spaces of varying sizes to host future workshops of creative art, music, dance and cookery for both children and adults.

 © Enrico Cano

c.Enrico Cano

在西卷中，展览馆分两层展开，其特点是可俯瞰海洋和公园。上层的展览空间由四层组成的玻璃屋顶点亮：外层由防止杂光直接进入画廊空间的小丝网玻璃板组成；第二层双层玻璃覆盖画廊；第三层由自动控制的小铝百叶窗组成，由一个传感器系统控制，可以用来遮住内部，使照明变得更加灵活；最后，在主光束下，一种半透明的白色织物，它创造了一个均匀的空间，在揭示屋顶复杂结构的同时，也扩散了光线。

In the west volume the exhibition galleries unfold on two levels, characterized by a spectacular double view over the sea and the park. The exhibition space on the upper floor is illuminated zenithally by glass roofing consisting of four layers: an outer level composed of small silkscreened glass slats which prevent stray light from entering the gallery space directly; a second layer of double glazing which seals the gallery; a third layer consisting of small aluminium louvers automatically controlled by a system of sensors that can be used to black out the interior and make the lighting flexible; and lastly, under the main beams, a semi-transparent white fabric that creates a uniform space and diffuses the light while revealing the complex structure of the roof.

 © Enrico Cano

c.Enrico Cano

 © Enrico Cano

c.Enrico Cano

从公园里挖出的一座圆形剧场与中央车站(Centro Botín)并排运行，它的西面有一个LED屏幕，可供放映和户外影院使用。在底层，一个完全透明的立面覆盖了一个由咖啡馆、餐厅、商业空间和信息中心组成的多功能空间。在这里，天花板上覆盖着陶瓷，地板是外部蓝色混凝土铺路的延续。这样，内外空间几乎是无法区分的，游客和公民可以看到海湾的海洋和景观，其框架是建筑的宽阔屋檐，为外面的桌子遮挡，为聚会和社交创造了空间。

An amphitheatre hewn out of the park runs alongside the Centro Botín, its west façade equipped with a LED screen for screenings and outdoor cinema. On the ground floor a fully transparent façade encloses a multifunctional space animated by a café, restaurant, commercial space and the information centre. Here the ceiling is covered with ceramic and the floor is a continuation of the external blue concrete paving. In this way, the inner and outer space are almost indistinguishable and visitors and citizens can see the sea and landscape of the bay framed by the broad eaves of the building which shelter the tables outside, creating a space for gathering and socializing.

建筑、公园和城市紧密相连。

Building, park and city are clasped in an intimate bond.

 Transversal Section

横断面

Architects Renzo Piano Building Workshop

Location Santander, Cantabria, Spain

Category Visual Arts Center

Collaboration Luis Vidal + Architects

Area 6823.0 m2

Project Year 2017

Photographs Enrico Cano, Stéphane Aboudaram