© Jesús Granada

(Jesús Granada)

架构师提供的文本描述。该项目以老陶器建筑群、陶瓷展览中心、特里亚纳地区不同旅游路线的解释中心以及圣安娜陶器厂商业和生产活动的不同地区为基础。

Text description provided by the architects. The project develops on and old pottery complex, an exhibition center of ceramics, an interpretative center on different tourist routes in the quarter of Triana, as well as different areas for the commercial and productive activities of the Santa Ana Pottery Factory.

 © Jesús Granada

(Jesús Granada)

在塞维利亚，过河和进入特里亚纳的事实就像跨越想象中的边界，在那里产生的历史城市的逻辑模糊了。Triana是一个季度，在一个小的，接近，几乎国内规模显示自己。它是一个复杂的城市地区，它融合了邻居的庭院，工艺作坊，流行的住宅和其他类型的住房，起源于20世纪中期的住宅发展。在特里亚纳，长期和日常的传统工艺和艺术活动如陶器、弗拉门戈等顺利共存，这些活动与该地区有很强的认同，在繁华的街道上也有明显的反映。Triana是享受简单日常生活的地方。

In Seville, the fact of crossing the river and getting into Triana is like crossing an imaginary border where the logic of the generation of the historical city blurs. Triana is a quarter that displays itself at a small, close, almost domestic scale. It is a complex urban area which mixes neighbors’ yards, craft workshops, popular homes and other type of housing which originated by the mid 20th century residential growth. In Triana there is a smooth coexistence of long and everyday traditional craftwork and artistic activities such as pottery, flamenco, etc, which are strongly identified with the area and which is clearly reflected in the bustling streets. Triana is the place to enjoy simple everyday life.

 © Jesús Granada

(Jesús Granada)

陶瓷生产是特里亚纳自始至终发展的主要工艺之一，存在着很强的邻里性与陶艺活动的同一性。我们所处的地区对当代建筑有着巨大的吸引力。在Triana，我们不会发现新的大型公共建筑，而不是它，我们会通过轻微的修改找到改造或渗透的地方，使我们能够在一个多样化和异质的城市结构中发现新的可能性。

The ceramic production was one of main crafts in which the development of Triana is based since its origin, existing thus a strong identity between the neighborhood and the pottery activity. We are in an area with enormous appeal for contemporary Architecture. In Triana we will not find new large public buildings, far from it we find places for alterations or infiltrations through slight modifications, allowing us to discover new possibilities in a diverse and heterogeneous urban configuration.

 Floor Plan

遗产条件。

HERITAGE CONDITIONS.  

从外部看，复杂的事物呈现出一种异质的形象，它告诉我们一个与特里亚纳文化(陶器工业、贸易和住宅)有着内在联系的故事。它由两个相互连接的地块组成，其中有三个不同的建筑彼此相连，街道上有不同的立面。

From the outside, the complex shows a heterogeneous image that tells us a story inherently related to the culture of Triana (pottery industry, trade, and housing). It consists of two interconnected plots where there are three different buildings attached to each other with different facades onto the street.

 © Jesús Granada

(Jesús Granada)

第一个提供进入中心陶瓷Triana，并面临着独特的广告瓷砖陶粒圣安娜。它构成了俯瞰阿尔托萨诺广场的拐角处，而特里亚纳大桥就是从这里开始的。第二个，较低的高度，有一个工业和更简朴的外观，最后，第三个，过去是一个三层楼的建筑物，一个独立的入口从街道。

The first one provides access the Center Ceramica Triana and is faced with unique advertising tiles of Ceramica Santa Ana. It constitutes the corner that overlooks Altozano Square, rom which the Triana Bridge starts. The second one, lower in height, with an industrial and more austere appearance and finally, the third one which used to be a three-story building with an independent entrance from the street.

 © Jesús Granada

(Jesús Granada)

这家老工厂一直生产到20世纪末。这一事实使其许多要素得以完整，并位于原来的地点：七座烧窑、一口井、颜料厂、车间和仓库。在考古工作中，发现了其他8座窑的遗迹，其中最古老的一座一直使用到16世纪末。其中两座窑已被纳入该项目。这座老工厂从外面看不见，它隐藏在构成其城市形象的建筑物后面。

The old factory kept its production until the end of the 20th century. This fact has permitted that many of its elements are complete and located in their original site: seven firing kilns, a well, pigments mills, workshops and warehouses. During archaeological works, remains of other 8 kilns, out of which the oldest ones were in use until the end of the 16th century, were found. Two of these kilns have been integrated into the project. The old factory is not visible from the outside; it is hidden behind the buildings which make up its urban image.

 © Jesús Granada

(Jesús Granada)

策略( strategy的名词复数 ).

STRATEGIES.

陶器中心是一个历史过程的结果，在这个过程中，内部空间殖民不是基于形状，而是基于对产生的需求的解决：制造、扩张、主人、储存、现代化。从当代的角度来看，这个项目是一个额外的过程，通过这种复杂的共存创造了一个附加的价值。

The pottery centre is the result of a historical process where the inner space colonization is not based on the shape, but on the resolution of the arisen needs: manufacture, expand, host, store, modernize. The project is proposed as an extra process seen from a contemporary point of view, creating an added value with this complex coexistence.

特里亚纳陶瓷中心渗透到四分之一复杂的地块组织，创造了丰富的城市内部景观。新的空间适应现有建筑的高度和形状。该项目的目的不是一个视觉参照来改变Triana的建筑轮廓。没有门面。情结意味着一旦进入情结，就会被发现。

The Triana Ceramic Centre seeps into the quarter complex plot tissue, creating a rich urban inner landscape. The new spaces adapt their height and shape to the existing buildings. The aim of the project is not to be a visual referent to alter the architectural profile of Triana . There is no facade. The complex is meant to be a gift to be discovered once one gets into it.

 © Jesús Granada

(Jesús Granada)

底层穿过工厂的小路。迷宫。

GROUND FLOOR. PATH OVER THE FACTORY. A LABYRINTH.

在一楼，这座建筑被组织起来，在陶窑间进行一次连续的散步。入口处是圣豪尔赫街，一楼由商店、新车间和旧陶器厂共用，那里将举行新的展览。

On the ground floor, the building is organized to be visited on a continuous walk among the pottery kilns. The entrance is through San Jorge St. The ground floor is shared by the shop, the new workshop and the old pottery factory where the new exhibitions will take place.

对陶瓷生产过程的叙述是利用不同的陶器元素插入其原始语境中进行的。它提出了一个迷宫般的旅程，在窑炉和老工厂空间之间，传达了游客如何进行传统的陶瓷生产在特里亚纳。为了实现这一目标，采用了一种考古方法，而不消除构成本遗产一部分的时间和空间痕迹(烟雾、混乱、偶然、砖块、木材、灰烬)。

A narrative of the ceramic production process is carried out by the use of different pottery elements inserted in its original context. It proposes a labyrinthine journey among kilns and old factory spaces which communicates the visitor how the traditional ceramic production in Triana was performed. In order to achieve this, an archaeological method is followed without erasing the time and space traces (smoke, disorder, chance, bricks, wood, ashes), elements which constitute a part of this Heritage.

 © Jesús Granada

(Jesús Granada)

一楼：展厅。陶器景观

FIRST FLOOR: EXHIBITION HALLS. POTTERY LANDSCAPE

新的展区出现在一楼，通过一个由陶瓷制品包围的悬浮空间。这是一座独立的建筑，与底层的建筑逻辑相反。楼下的项目是一个与地板相连的迷宫。另一方面，楼上的建筑实际上是与底层隔开的，有一个独立的结构，配置了一条整洁的长方形路线，这条路线依赖于聚会的墙壁。

The new exhibition area appears on the first floor through a suspended space surrounded by ceramic pieces. It is a separate building with an opposed logic to the one on the ground floor. The project downstairs is meant to be a labyrinth linked to the floor. On the other side, the construction upstairs is physically separated from the ground floor with an independent structure configuring a neat rectangular route which relies on the party walls.

生成的形状适合于每个窑炉组的几何形状，它们可以假设重新开始工作。在参观展览期间，空间扩大了，然后缩小了。展览馆位于更广阔的地区，从狭窄的区域可以看到老工厂。还有不同时期的陶瓷永久展览的空间：中世纪、文艺复兴、巴洛克、十九和二十世纪。

The resulting shape adapts to the geometry of each one of the kilns group which could hypothetically start working again. During the tour through the exhibition, space expands and then shrinks. The exhibition galleries are located in the wider areas; from the narrow areas one can have a perspective of the old factory. Then there are spaces for the permanent exhibition of ceramics from different times: Medieval, Renaissance, Baroque, nineteenth and twentieth century.

然后，一座两层楼高的旧建筑，砖墙出现在情节的中心。这是陶瓷画家过去工作的地方，现在打算用于临时展览。再往外一点，就有一个名为“Aqui Triana”的区域，作为特里亚纳旅游线路的解释中心。

Then an old two-story building with brick walls emerges in the centre of the plot. That is where the ceramic painters used to work and it is now meant to be used for temporary exhibitions. A little further towards the outside, there is an area called “Aquí Triana”, created as an interpretive centre for tourist routes in Triana.

 © Jesús Granada

(Jesús Granada)

在第一层，正面的内部包装强化了项目建设所用的积累过程的概念。一个镀锌钢的子结构，被认为是大架子，提供了一个看似凌乱的四种大小的空心陶瓷件堆的支持。这个动作是为了保护不受太阳的影响，这取决于它的方向和陶器工厂的不同外观。

On the first floor, the interior wrapper of the facades reinforces the concept of accumulation process with which the project is built. A galvanized steel sub-structure thought as large shelves provides support for an apparently messy pile of hollow ceramic pieces in four different sizes. This action is meant for the protection from the sun depending on its direction and for the different looks to the pottery factory.

Architects AF6 Arquitectos

Location Calle Antillano Campos, 14, 41010 Sevilla, Sevilla, Spain

Category Refurbishment

Design Team Miguel Hernández Valencia, Esther López Martín, Juliane Potter, Francisco José Domínguez Saborido, Ángel González Aguilar

Area 2241.0 sqm

Project Year 2010

Photographs Jesús Granada