© Moritz Bernoully

莫里茨·伯努利

架构师提供的文本描述。这座建筑可以追溯到20世纪初，由于它的历史和艺术遗产价值被INBA、INAH和SEDUVI列出。它原本打算住多处住宅，但在它漫长的生命中，从墨西哥联合书商的总部一直到一家糕点店。所有这些之前的经验，正是什么赋予了它一个独特的个性，并使其内部空间独特。就像一个真实的个体一样，建筑的特征是通过它的经验获得的，几乎是经验性的，因此它的显著标志，疤痕，皱纹，在这个项目中不会被抹去或清除，但是当获得新的用途时，它将成为表达的一部分，在它丰富的生活中又多了一章。

Text description provided by the architects. The building dates from the early twentieth century and is listed due to its historical and artistic heritage value by the INBA, the INAH and SEDUVI. It was originally intended to house multiple dwellings but in its long life has sheltered from the headquarters for the United Mexican Booksellers to a pastry shop. All that previous experience is precisely what gives it a particular personality and makes its interior space unique. As happens with a real individual, the building acquires its character through its experiences, almost empirically, and hence its distinguishing marks, scars, wrinkles, which in this project will not be erased or cleared, but will form part of the expression when acquiring a new use, one more chapter in its rich life.

 © Moritz Bernoully

莫里茨·伯努利

随着时间的推移，该网站所处的环境遭受了许多伤亡。在二十世纪初，这是一个乡村房屋的地区，但城市的发展和它与历史中心的邻近导致了这些财产的废弃。1985年地震对市中心周边地区造成的巨大破坏，对人口分布的动态和城市历史街区的巩固产生了负面影响。

The context in which the site is located has suffered many causalities over time. In the early twentieth century it was an area of country houses, but the growth of the city and its proximity to the historic center caused the abandonment of these properties. The massive destruction that the earthquake of 1985 generated in the neighborhoods of the city center, a negative effect on the dynamics of population distribution and the consolidation of historic districts of the urban area.

由于INBA是一个列出的建筑，干预必须保留现有建筑对象的本质。它响应于三个不同政府机构的要求、灵活的空间和视觉广度，力求给每个客户提供其空间的所有权意识，强调入口广场。

As it is a listed building by the INBA, the intervention must preserve the essence of the existing architectural object. It responds to the requirements of three different government bodies, flexible spaces and visual breadth, seeking to give each customer a sense of ownership of their space, emphasizing the entrance plaza.

 © Moritz Bernoully

莫里茨·伯努利

在没有建筑的情况下进行创作听起来是一个几乎不可能的目标，但肯定是有效和创新的。这个项目背后的想法占主导地位，它的任何正式表现形式都占主导地位。正是一个概念的清晰性决定了一个项目背后的力量，在视觉上是非常有吸引力的，克服了将它变成现实的物理要素。最后，剩下的是一种充满感觉的记忆，产生于当时和过去的一切，以及意想不到和持续的刺激，其中最主要的是空间，而不是建筑。

To create without building sounds like an almost impossible goal, but certainly effective and innovative. The idea behind the project is dominant over any formal representation of it. It is precisely the clarity of a concept which determines the power behind a project that is visually very attractive, overcoming the physical elements that materialize it into reality. In the end what remains is a memory rich in sensations, generated from everything that is and was, of unexpected and constant stimuli in which what is predominant is  the space more than anything -the architecture.

 © Moritz Bernoully

莫里茨·伯努利

有一些成功的先例处理了上面提到的想法，比如唐纳德·贾德(Donald Judd)在得克萨斯州马法的工作，或者最近在马德里的埃尔·马塔德罗(El Matadero)项目，这些干预措施超越了“旧”壳并使其恢复活力。它是关于玩弄现有的，而不是改造它、更新它或改进它，而是简单地使用它，一个比它看起来更勇敢和复杂的行动，这个行动几乎违背了建筑师在学校和职业工作场所广泛存在的所谓工作。它是关于建筑而不是建筑。

There are some successful precedents that have handled the ideas mentioned above, as the work of Donald Judd in Marfa, Texas, or more recently the El Matadero project in Madrid, interventions that go beyond taking an "old" shell and rejuvenating it. It is about playing with the existing, not adapting it, renewing it or improving it, but simply using it, a more courageous and complex action than what it seems, an action that is almost against the alleged work of the architect widespread in schools and the workplace of the profession. It is about making architecture wi

从最早的素描开始，我们就试图生成实心和空块，即空间之间的正负关系，这些街区的布局，我们在中央庭院周围发挥它们的高度。这样我们就可以实现静态空间(客厅、书房)和动态空间(楼梯、走廊)。

From the earliest sketches, we sought to generate solid and empty blocks, that is the positive and negative between spaces, the arrangement of these blocks in which we play with their height around a central courtyard. With this we achieve static spaces (living rooms, study) and dynamic spaces (stairs, corridors).

 © Moritz Bernoully

莫里茨·伯努利

这座建筑的内部结构丰富，内容丰富。不能人工产生的纹理，只有随着时间的推移才能产生的纹理，这一点绝不会被拒绝。无论是否有磨损的油漆、暴露的隔墙、从墙壁或横梁上冒出来的植被，这些东西曾经有什么东西，现在几乎成了雕塑的特征，但没有任何东西被触及，唯一的“极限”当然是建筑物的保护。

The building's interior is rich in textures, they abound. Textures that cannot be produced artificially, textures generated only with the passage of time and that in no way will be denied. No matter if there is worn paint, exposed partitions, vegetation coming out of the walls or beams that once held something and now are almost sculptural features, nothing is touched, the only "limit" is of course the preservation of the building.

 © Moritz Bernoully

莫里茨·伯努利

Architects R-Zero

Location Centro Histórico, Centro, Ciudad de México, D.F., México

Category Offices Interiors

Project Architects Alejandro Zárate de la Torre, Edgar Velasco Casillas

Project Area 2330.0 m2

Project Year 2015

Photographs Moritz Bernoully