© Roland Halbe

罗兰·哈贝

杜维拉(Keystone)是一个空气石，“太阳之石”。在墨西哥城Zócalo发掘的Aztec玄武岩，意思是“Tonatiuhtlan de Ollin”或“太阳运动”。它所代表的太阳之神，托纳蒂厄，抓住了一颗心，表达了对太阳时间连续性的需要。在这件美丽的考古作品中，我们可以欣赏到的光线是光的象征，我们必须通过发现我们是什么、我们的感受和我们所做的来发现它。需要坚韧和耐心(地球)、精神力量(火)、适应不同生活环境(水)和正念(空气)的能力。难怪阿兹特克人、印加人、玛雅人、埃及人等人都认同太有普遍的生命精神，试图将太阳的身体特征与精神特征联系起来。因此，他们将揭示无形的伟大。

The Dovela (Keystone)is an air stone, the "Sun Stone." The Aztec basalt monolith excavated in the Zócalo in Mexico City, means "Tonatiuhtlan de Ollin" or "Sun of Movement." The god of the sun it represents, Tonatiuh, grabs a heart and expresses the need for continuity of solar time. The rays we can appreciate in this beautiful archaeological piece are the symbol of light, which we have to find through the discovery of what we are, what we feel and what we do. Tenacity and patience are required (Earth), also spiritual strength (Fire), capacity to adapt to different circumstances of life (Water) and mindfulness (Air). No wonder the Aztecs, Incas, Mayans, Egyptians, etc., identified the Sun with the universal spirit of life, trying to associate its physical characteristics with the spiritual ones. Thus, they would reveal the greatness of the intangible.

 Courtesy of Ensamble Studio

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建筑总是指无形的东西。然而，它使用强制物理的元素来做到这一点。金字塔作为物质爆发，在墨西哥文化中显示出巨大的建设性、社会性、都市性和象征性的光辉。在邻近的玛雅文化中，风景区是地貌结构，其中神圣的是被挖掘出来的空间，对小雨开放。

Architecture refers to the intangible constantly. However it does so using elements of imposing physicality. The pyramids, as material eruptions, show a great constructive, social, urban and symbolic splendor in the Mexican culture. And in the neighboring Mayan culture, the cenotes are geomorphologic structures, where the sacred is the excavated space, open to light and rain.

 © Roland Halbe

罗兰·哈贝

我们认为，当代文化是与时间运动相联系的不断表达，与墨西哥文化相互重叠和融合的历史层对今天的建筑创作有很大的启发作用。因此，Dovela看起来像一块空气之石，由一系列被挖掘出来的梯田提供空间支撑；它提供给太阳，它在穿越它的石板时移动时间；它保护我们不受雨水的侵袭，并将我们掩埋在地球内。Dovela试图收集所有出现在它之上的世界的共鸣，给他们秩序。挖掘出来的空间被给予公众和开放的天空，由象征性的金属结构保护。该项目所面临的基本性质是：负空间的深度密度，垂直特性；以及由Dovela所包含和支撑的空气的水平张力，这是一个抽象平衡的最后一个关键部分，它减轻了重量，使空中、变化无常和光线像云朵一样，通过过滤太阳光而使地面的空间合格。

We understand contemporary culture as a constant expression of connectivity with the movements of time, and the layers of history that overlap and hybridize the Mexican culture are of great inspiration to make a work of architecture today. Therefore, the Dovela appears as a stone of air, supported by the space that comes from a sequence of excavated terraces; that offers to the sun which moves the time when going through its slats; and that protects from the rain and shelters us inside the earth. The Dovela tries to collects all the resonances of the world emerging above it, to give them order. The excavated spaces are given to the public and open to the sky, protected by the symbolic metal structure. The project confronts the elemental natures with which it is built: the deep density of the negativespace, of vertical character; and the horizontal tension of the air contained and supported by the Dovela, last key piece of an abstract balance that loses its weight to appear aerial, mutable and light as a cloud that qualifies the space in the ground by filtering sunlight rays.

 © Roland Halbe

罗兰·哈贝

然而，空间决定着它的规则，而建筑则操纵着它们。该结构的设计是基于协调其内部正交和双向的各向同性顺序与其截面的变几何本质的矛盾。一种数学对象，它将严格的指令转移到空间上，但不施加于空间，从而使自然元素(水、光和空气)影响其最后的构形。感性的现实是这种表观秩序和起伏空间之间斗争的结果，这种斗争使人们暴露在不同的太阳光中，它们在结构的板条之间振动，产生了四个强度场，即四个被挖掘出来的空间的投影，表达了剧院大厅的螺旋。又是四次，中美洲传说中的四个太阳，关于世界的创造，地球的四个阶段，自从它创建以来，…。

However, space dictates its rules, and architecture manipulates them. The design of the structure is based on the paradox of reconciling the isotropic order of its intrados, orthogonal and bidirectional, with the essence of the variable geometry of its section. A mathematical object which transposes its strict order to the space but does not impose it, allowing the natural elements (water, light and air) to affect its last configuration. The perceptual reality is the result of this struggle between the apparent order and the fluctuating space, that causes the exposure to the diversity of the solar lights that vibrate between the slats of the structure, creating four fields of intensity which are the projection of the four excavated spaces that articulate the spiral of the theater lobbies. Again the four times, the four suns of the Mesoamerican legend about the creation of the world, the four stages of the Earth since its creation…

 © Roland Halbe

罗兰·哈贝

太阳和地球之间的接触无法捕捉到它们中任何一个的顺序模式。因此，在产生Dovela和地面挖掘之间重力联系的结构设计中，我们决定了一个非常具象的设计，就好像它是Caryatis和Atlanteans；唤起了多样性，反映了人类居住在这个空间中的世界。因此，柱子参与了运动，在时间上，在空间舞蹈中自由排列，依赖于结构的刚性，其非对称配置在Dovela的内部网格内。

The contact between the sun and the earth could not pick up patterns of the order of any of them. So in the design of the structure that generates the gravitational connection between the Dovela and the excavations in the ground, we decided on a very figurative design, as if it were caryatids and Atlanteans; evoking diversity, reflecting the world of the man that will inhabit the space. Therefore, the pillars are involved in the movement, in time, and are freely arranged in the space dance, relying on the rigidity of the structure its non symmetric disposition within the internal grid of the Dovela.

 © Roland Halbe

罗兰·哈贝

通过将自己沉浸在开放的挖掘大厅的负面空间中，我们可以接触到新的和最终的发生。一旦进入地球，剧院就会出现在这个空间序列的末端。在这里，建筑物的综合达到了一个停止的时间的功能，重新创造，一个地方思考。

By immersing ourselves in the negative space of the open excavated lobbies, we can have access to a new and final happening. Once inside the earth, the Theater appears as the end of this sequence of spaces. Here the synthesis of the building culminates with the function of a halted time, recreated, a place to contemplate.

Architects Ensamble Studio

Location Mexico City, Federal District, Mexico

Category Theater

Author of the project Antón García- Abril

Associate architect Elena Pérez, Alba Cortés

Area 11500.0 m2

Year 2012

Photography Roland Halbe, Cortesia de Ensamble Studio