© Fernando Alda

(费尔南多·阿尔达)

架构师提供的文本描述。马拉加罗马剧院是一座最高级别的纪念碑，坐落在西班牙-摩尔人的阿尔卡萨巴要塞的山坡上，还有几米长的海关宫，很快就会成为马拉加的大博物馆。如果说大剧院的保护和恢复是这一伟大文化遗产规划的中心目标，那么同样重要的是将城市中的遗骸融入城市生活中。游客中心的设计就像第一步，将罗马剧院融入毕加索博物馆后部的新公共空间。这样，该中心就插入了一个大的文化轴心，覆盖了阿尔卡萨比利亚街，并在毕加索的土著住宅、阿尔卡萨巴、马拉加博物馆和毕加索博物馆之间穿行。古代和现代，过去和未来，被象征性地概括在不到一公里的城市路线。

Text description provided by the architects. The Roman Theatre of Málaga is a monument protected in the highest category, placed in the hillside of the Spanish-Moorish fortress of the Alcazaba and a few meters of the Customs Palace, which will be soon the big Museum of Malaga. If the conservation and restoration of the Theatre is a central target of this great cultural heritage planning, it is not less important the integration of the remains in the city, in the urban life. The Visitors' Centre is designed like the first step to incorporate definitely the Roman Theatre into the new public space generated in the rear part of the Picasso Museum. This way the Centre is inserted in a big cultural axis that covers the Alcazabilla Street and that passes between the Native House of Picasso, the Alcazaba, the Museum of Malaga and the Picasso Museum. Antiquity and modernity, past and future, are summarized symbolically in less than one kilometer of urban route.

 © Fernando Alda

(费尔南多·阿尔达)

 © Fernando Alda

(费尔南多·阿尔达)

豁免的，轻的和抽象的作品，占据了一个侧面的位置，不干扰的视觉任何部分的剧院，同时它的关系，更大的体积建筑的阿尔卡扎比拉街。游客中心的形成也就像进入网站的大门一样，就像游客的认领和吸引点一样。

The exempt, light and abstract piece, occupies a side position that does not interfere in the vision of any part of the Theatre, at the same time it tinges its relation with the greater volume buildings of Alcazabilla Street. The Visitors' Center is formed also like access door to the site, like a claim and an attraction point for the visitor.

 © Fernando Alda

(费尔南多·阿尔达)

从建筑物外观的角度看，基本材料有两种：一种是用木材制成的热固性树脂制成的平板，它包裹着剧院的正面、盖子和入口坡道，一种用来使箱子显得轻盈的材料；和系列玻璃，建立了一个直接和独特的关系，考古遗骸，同时也是一个窗口，为其沉思和反射的颜色。在里面，那将很快收到博物馆的展览，地板是伊罗科木板。在外部，彩色混凝土和奶油色石灰石的安全墙，完美地融入了剧院、山坡和阿尔卡萨巴的墙壁的土壤阴影中。

From the point of view of the buildings’ appearance the basic materials are two: flat panels based on thermosetting resins finished in wood that wraps the fronts, the covering and the access ramp to the Theatre, a material chosen to give a lightness appearance to the box; and serigraphic glass that establishes a direct and unique relation with the archaeological remains, being at the same time a window for its contemplation and its reflection tinged by the colour. In the Inside, that will receive shortly the museum exhibition, the floor is of iroko wood planks. In the exterior, the containment wall of coloured concrete and the cream coloured limestone, integrate perfectly into the soil shade of the remains of the Theatre, of the hillside and of the walls of the Alcazaba.

 © Fernando Alda

(费尔南多·阿尔达)

 © Fernando Alda

(费尔南多·阿尔达)

似乎飞过考古水平的盒子的轻盈和自主的外观因使用Lex Flavia Malacitana系列玻璃而得到加强。Lex Flavia Malacitana是一种青铜石碑，收集了罗马马拉卡市在第一世纪的法律，以及木材的使用将提供某种临时性质。拉丁文，脱离了它最初的青铜支撑，变成了一种纹理，变成了一个神秘的背景，模糊了盒子的存在。但与此同时，在广告泛滥的情况下，玻璃前渴望成为游客的呼唤，让他们更好地了解一项非同寻常的新兴文化遗产。

The appearance of lightness and autonomy of the box that seems to fly over the archaeological level is reinforced by the use of the serigraphic glass with the Lex Flavia Malacitana, a bronze tablet that gathers the laws of the Roman municipality of Malaca in the last first century, and by the use of wood that will provide a certain provisional nature. The Latin text, out of the context of its original support in bronze, turns into a texture, into an enigmatic background that blurs the presence of the box. But at the same time, without falling in the advertising excess, the glass front aspires to be a call to the visitor to know better an extraordinary emergent cultural heritage. 

 © Fernando Alda

(费尔南多·阿尔达)

Architects Tejedor Linares & asociados

Location Calle Alcazabilla, Málaga, Málaga, Spain

Category Heritage

Architects in Charge Tejedor Linares & asociados, Antonio Tejedor Cabrera, Mercedes Linares Gómez del Pulgar

Project Year 2010

Photographs Fernando Alda