Volumes Diagram

体积图

架构师提供的文本描述。也许最奇怪的是，在梅迪拉布-普拉多的La serrería Belga改编项目中发现的不同意图使他们得以共存，尽管并非没有一定程度的讽刺。

Text description provided by the architects. Perhaps more than anything else, it is the very strangeness of the diverging intentions found in the La Serrería Belga adaptation project for the Medialab-Prado that makes it possible for them to coexist, though not without a certain measure of irony.

 © Miguel de Guzmán

米格尔·德古兹曼

第一种是由某种体制性精神分裂症引起的。虽然“Paseo del Arte”被转化为马德里市政厅的旗帜，以吸引国际旅游，但同时在同一地区推广了一项建筑竞赛，最终将为一个赞助辩论的机构服务，这些辩论是对这一模式提出深刻批评的。Mediab将自己定义为“数字文化的生产、研究和传播的空间以及艺术、科学、技术和社会之间的汇合点”，与传统的展览模式不同，它促进生产作为一个可渗透的过程，取代观众的形象和演员的形象，或中介者的形象作为联系的促进者。

The first of these caustic coexistences stems from a certain institutional schizophrenia. While the 'Paseo del Arte' was transformed into Madrid City Hall's banner to attract international tourism, an architectural competition was simultaneously promoted in the same area, which would end up serving an institution that sponsored debates that were deeply critical of this model. Medialab defines itself as “a space for the production, research and dissemination of digital culture and the confluence between art, science, technology and society”, and, in contrast to the traditional exhibition model, it promotes production as a permeable process, supplanting the figure of the spectator with that of the actor, or the figure of the mediator as a facilitator of connections.

La serrería vs La Cosa是另一种共存模式，就像一种相互冲突的方言一样，它促进了对两个竞争对手之间存在的中间空间的占领，超越了传统的恢复概念。La serrería Belga(比利时锯木厂)是由建筑师曼努埃尔·阿尔瓦雷斯·纳亚于20世纪20年代开始分不同阶段建造的，也是马德里最早采用钢筋混凝土的建筑成就之一。就其本身而言，La Cosa(The Thing)是我们用来指一组机制、装置和设施的名称，这些机构、装置和设施在组装时使建筑物能够跟上目前的要求。一种轻型和铰接式结构，具有某种技术前的空气，渗透到建筑物中，使其具有很大的改造潜力。最终，正是对立面的共存使我们有可能认为这些对话者之间的中间点不是一种完美的产品，而是由其用户启动的一个开放的、多才多艺的过程。

La Serrería vs La Cosa is another pattern of coexistence that, like a conflicting dialect, facilitated the occupation of the intermediate space existing between both rivals, beyond the conventional concept of restoration. La Serrería Belga (The Belgian Sawmill) was built in various stages starting in the 1920’s by the architect Manuel Álvarez Naya and it was one of the first architectural achievements in Madrid to employ reinforced concrete. For its part, La Cosa (The Thing), is the name that we have used to refer to the group of mechanisms, installations and facilities that, when assembled, made it possible to bring the building up to date with current requirements. A light and articulated structure with a certain pre-technological air that, infiltrated in the building, enables a large potential for transformation. Ultimately, it is the coexistence of opposites that made it possible to think of the halfway point between these interlocutors not as a consummate product, but rather as an open, versatile process activated by its users.

 © Miguel de Guzmán

米格尔·德古兹曼

这些形式的共存为这种适应中使用的一些战略创造了范围：

These forms of coexistence created the scope for some of the strategies used in this adaptation:

-占用现有建筑物，不仅作为一种历史叙述，而且作为有效材料加入该项目的潜在能量的容器。避免了已经由Serrería大楼提供的任何元素或解决方案的重复或合并。

- The appropriation of the existing building, not only as a historic narration, but also as a container for latent energies that have joined the project as effective material. Any duplication or incorporation of elements or solutions that had already been contributed by the Serrería building was avoided. 

-空间的非特定处理。这种情况导致了材料溶液的均匀化和装置的均匀分布。

- The non-specific treatment of the spaces. This condition resulted in a homogenous approach to material solutions and the uniform distribution of installations.

 © Miguel de Guzmán

米格尔·德古兹曼

-认为这一行动是一种分层，随着时间的推移，变化程度不同。选择了可拆卸的轻量级建筑系统，以及其耐久性和适应性不会对未来改造构成条件的材料。

- Thinking about the action as a stratification with different levels of change over time. Lightweight construction systems that can be disassembled were chosen, as were materials whose durability and adaptability will not condition future transformations.

-将每一项新的干预措施视为将支助系统纳入创造性行动和研究的机会。这包括解决方案，如使用双百叶窗作为投影屏幕，利用现有结构中的空洞创建复古投影地板，使用分隔墙作为数字立面，以及设计La Cosa作为数字实验的机制。

- Looking at each new intervention as an opportunity to incorporate support systems for creative actions and research. This included solutions such as the use of double blinds as projection screens, taking advantage of voids in the existing structure to create a retro-projected floor, the use of the dividing wall as a digital facade and the design of La Cosa as a mechanism for digital experimentation. 

Architects Langarita Navarro Arquitectos

Location Madrid, Spain

Category Visual Arts Center

Architect in Charge María Langarita, Víctor Navarro

Project Year 2008

Photographs Miguel de Guzmán