© Juan Solano Ojasi

胡安·索拉诺·奥贾西

架构师提供的文本描述。Pachacamac庇护所是西班牙前建筑以他的沉默和规模打动我们的地方；它的长路被令人印象深刻的墙壁结构所限制，我们永远与崇拜场所对抗。它与环境的关系是通过长期组织占领的痕迹来定义的。西班牙前建筑师明白，建筑是人与神崇拜之间的中介，有着深厚传统的建筑项目可以在领土适应战略范围内运作。因此，建筑传统正在界定其建筑，并在其领土和环境上增加创新。

Text description provided by the architects. The Sanctuary of Pachacamac is a place where the pre-Hispanic architecture moves us by his silence and scale; its long paths confined by impressive wall structures permanently confront us with the worship places. Its relationship with the environment is defined by traces organizing the occupation over time. Pre Hispanic architects understood that architecture was a mediation between man and the worship of gods, with a deep tradition were permitted to operate its projects within territory adaptation strategies. Thus, the building tradition was defining its architecture and adding on innovations upon its territory and circumstances.

 © Juan Solano Ojasi

胡安·索拉诺·奥贾西

因此，这座博物馆与西班牙前的大规模元素形成鲜明对比，它的墙壁结构决定了它的痕迹，由它的大规模墙壁所定义的路径与庇护所一直处于紧张状态。博物馆试图把它神圣的领土变成博物馆的藏品。

Therefore, the museum emerges from a lightness that contrasts to the massive pre hispanic elements, its wall structures define its trace and its pathways defined by its large scale walls are in constant tension with the Sanctuary. The Museum tries to turn its sacred territory into a museum piece itself.

 © Juan Solano Ojasi

胡安·索拉诺·奥贾西

当代建筑学谈到前西班牙裔建筑，采用它的元素，并建立另一种语法，它允许自己居住在象征性的景观，并定义空间框架的庇护所。

Contemporary architecture talks of pre-Hispanic architecture, taking its elements and building an alternative grammar with which it allows itself to inhabit the symbolic landscape and define spaces to frame the Sanctuary.

 Floor Plan

博物馆项目产生于他与该领土的关系、其地形轨迹以及作为保护区调解人的能力。外部通道空间筑巢，因为他们需要为史前庙宇搭建框架。建筑物本身适应其周围环境，引导他们的观点，加强与神圣建筑的关系。

The museum project was born from his relationship with the Territory, its topographic traceand the ability to establish itself as a mediator with the Sanctuary. The exterior pathway spaces nest in their need to frame the prehistoric temples. The building itself adapts to its surroundings directing their views reinforcing the relationship with sacred buildings.

 Courtesy of Llosa Cortegana Arquitectos

Llosa Cortegana ArquArchtos提供

卷是以地震的姿态折叠的(Pachacamac被称为地震神)，并强调他们的外部通道坡道间隙，与前西班牙裔街道相关，朝圣者在那里的大规模墙内的线性空间接近他们的庙宇。

Volumes are folded in an earthquake gesture, (Pachacamac was known as the Earthquakes God) and stressed between their external pathway ramp gaps, associated with the pre Hispanic streets where the pilgrims approached their temples in linear spaces within its large scale walls.

 © Juan Solano Ojasi

胡安·索拉诺·奥贾西

其质量，表现在其粗糙的混凝土墙体上，与前西班牙土墙结构相关联，为了试图建造一种影子类型，该工程避免了构筑物穿孔。这个项目在墙上定义了它的形式。

Its mass, expressed in their rough concrete walls are associated with the pre Hispanic earth wall structures, the limb in an attempt to build a kind of shadow typology, the project avoids composition perforations. The project defines its form upon the wall.

 © Juan Solano Ojasi

胡安·索拉诺·奥贾西

建筑物对环境的态度是“弱”的，其规模是与地形和地面的不均匀性共同处理的，以避免突然闯入该地区。只有当你下楼到会议广场时，才能看到大楼的全部规模。这座建筑表达了对它所嵌入的神圣领土的深切敬意，并表现为圣所长期转型过程中的另一个层叠层。

The building places itself in a “weak” attitude towards its environment; the scale is handled in complicity with the topography and the unevenness of the ground to avoid breaking abruptly into the place. It is only when you descend to the meeting Plaza, where the building is revealed in its full scale. The building expresses its deep respect for the sacred territory where it inserts, and manifests as another laminating layer in the long process of transformation of the Sanctuary

 © Juan Solano Ojasi

胡安·索拉诺·奥贾西

Architects Llosa Cortegana Arquitectos

Location Santuario Arqueologico de Pachacamac, Lurín, Peru

Category Museum

Design Team Patricia Llosa, Rodolfo Cortegana

Area 3028.0 m2

Project Year 2015

Photographs Juan Solano Ojasi

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