© Roland Halbe

罗兰·哈贝

架构师提供的文本描述。乍一看，似乎很难将一个关键角色分配给一个与项目隔离的建筑元素，人们普遍认为，如果有一个主角，它必须与其整体概念有关，而不是与部分方面有关。但是仔细阅读一本像阿拉贡会议中心这样的作品，除了有助于理解它是一个复杂的东西，它的内部结构是通过构成它的各个部分之间的空间联系和共鸣来感知的，它也允许承认一个单一的原则可以通过这个系列的机制获得的意义。人们意识到有必要迅速完成这座建筑，包括在短暂的2008年世博会区域，以及在一个必须由不同作者随机填充的建筑和具有不同特征的地方缺乏重要的以前的参考资料，这决定了一个可以定义为组合的过程，而不仅仅是从概念或组成的角度来看，但在材料和建筑方面也是如此。在会议中心的项目中，影响其空间、体积、形式、结构、建设性和材料定义的所有决定都是从基础单元开始创建组合的愿望依次产生的：天窗、结构网格、混凝土面板、陶瓷件、外壳模块等等。线性天窗，这个项目的真正主角，一开始是一个平面，折叠成平行的带状，向北和南交替打开，重复其尺寸和高度的变化取决于内部的空间需求。这些多重转换提供了一种机制，使单元能够适应不同的环境，这是一个能够通过建立序列生成订单的系统。

Text description provided by the architects. At first glance it seems hard to assign a key role to an architectural element that is isolated from a project, and one generally accepts that, if there is a protagonist, it must be related to its global conception, not to partial aspects. But a close reading of a work like the Congress Center of Aragón, aside from helping to understand it as a complex whose internal structure is perceived through the spatial connections and resonances among the pieces that form it, also allows acknowledging the meaning that one single principle can acquire through the mechanism of the series. The awareness of the need to quickly complete this building included in the precinct of the ephemeral Expo 2008, as well as the absence of significant previous references in a place that had to be randomly filled with buildings by different authors and with varied characteristics, determined a process that can be defined as combinatorial, not only from the conceptual or compositional point of view, but also in terms of material and construction. In the project for the Congress Center all the decisions affecting its spatial, volumetric, formal, structural, constructive, and material definition emerged successively from a desire to create combinations starting from elementary units: a skylight, a structural grid, a concrete panel, a ceramic piece, an enclosure module, and so on. The linear skylight, the true protagonist of the project, starts out as a plane folded in parallel bands, open alternatively toward the north and the south, repeated with variants whose dimension and height change depending on the spatial needs of the interior. These multiple transformations provide the mechanism that enables the unit’s adaptation to different circumstances, a system able to generate an order through the establishment of series.

 © Fernando Alda 

(费尔南多·阿尔达)

它的破碎和变化的剖面会关注建筑物的不同用途、引入自然光的愿望以及建筑物在地形中所处的位置。就像一层明亮而耀眼的面纱，覆盖着GRC面板和陶瓷的大屋顶产生了正面和负面的展示空间，以向上和向下的顺序编织，转化为人工建造景观的隐喻。近几年来，许多项目都将建筑理解为景观，而传统的建筑观念则将建筑视为具有自身内部结构的独立对象。萨拉戈萨项目采纳了这一观点，但试图避免已经成为司空见惯的事情：与自然形式的类比，而这种类比往往被转化为不可能的物化的几何图形。也许出于这一原因，我们的建议更接近于一些经验，例如阿尔瓦·阿尔托和约恩·乌松的经验，当时不存在正式产生的数字手段，因此有必要从一开始就找到建筑形式、建筑结构及其执行之间的直接联系。总之，我们寻找了一个内部几何定律，并将其后来转化为一个结构和建筑过程。

The broken and variable profile of its section attends to the different uses of the building, to the desire to introduce natural light, and to the way in which the building is situated in the terrain. Like a bright and radiant veil, the large roof clad with GRC panels and ceramic generates positive and negative exhibition spaces braided in an upward and downward sequence that is transformed into a metaphor of an artificially built landscape. In recent years many projects have established a contrast between architecture understood as landscape and the traditional conception of buildings as independent objects with their own internal structure. The Zaragoza project picks up this idea, but tries to do so avoiding what has already become a commonplace: the analogies with the forms of nature that are often translated into geometries of improbable materialization. Perhaps for that reason our proposal is closer to some experiences, such as those of Alvar Aalto and Jørn Utzon, when the current digital means of formal generation did not exist and it was thus necessary to find, from the outset, a direct link between the architectural form, its construction, and its execution. In sum, we have sought out an internal geometric law and its later translation into a structural and building process.

 © Roland Halbe

罗兰·哈贝

在这项工作中，几何、结构和构造是同一个组合博弈的一部分。快速执行的需求，最初是一种不便，鼓励我们从它的第一个架构构思中克服这个问题。严格的调整、对易重复的预制建筑系统的偏爱、对大跨度金属结构解决方案的选择，以及对材料调色板的限制，都是一种战略的论点，使我们能够面对一个与建筑项目无关的产生自身动力的过程的困难条件。

In this work, geometry, structure, and construction are part of a same combinatorial game. The need for a quick execution, which was initially an inconvenience, encouraged us to overcome the problem from its first architectural conception. A strict modulation, the preference for prefabricated building systems susceptible of being repeated, the choice of a metallic structural solution for large spans, and, finally, restraint in the palette of materials, are all arguments of a strategy that allowed us to face the difficult conditions of a process that generated its own dynamics independently from the architectural project.

 © Fernando Alda 

(费尔南多·阿尔达)

白天屋檐下的灯光和反射，在夜间发现了它们的反差。当时，国会中心就像一片从地势中冒出来的室内光景观：这两幅景象都是一系列组合建筑的图像，其中一个孤立的主题能够激活整个作品，就像一个想象中的多节奏音乐赋格。

The sheen and the reflections with which the roof asserts its presence during the day find their contrast at night, when the Congress Center appears like a landscape of interior light emerging from the terrain: both are images of a serial and combinatorial architecture in which an isolated theme is able to activate the whole work, like an imaginary representation of a musical fugue of multiple rhythms.

 Floor Plan & Elevations

Architects Nieto Sobejano Arquitectos

Location Zaragoza, Spain

Category Auditorium

Architect in Charge Fuensanta Nieto, Enrique Sobejano

Project Architect Patricia Grande

Photographs Roland Halbe, Fernando Alda