© Isao Suzuki

(3)铃木岛树(Isao Suzuki)

这个剧院的项目是在维卡尔，一个典型的城镇在坎波德达利亚，在阿尔梅里亚，被定居者占领在阿尔普吉拉斯60年代。这是塞拉德加多山脚下一片明显的平坦景观，是塑料的奇特延伸，是一片人工的温室海洋，在其边界与真实的景观交融在一起。

The project for this theatre is located in Vicar, a typical town in Campo de Dalias in Almeria, occupied by settlers in the Alpujarras in the 60s. It is an unmistakable flat landscape at the foot of the Sierra de Gador, a peculiar extension of plastics, an artificial sea of greenhouses that blends at its boundaries with the real landscape.

 © Isao Suzuki

(3)铃木岛树(Isao Suzuki)

该遗址位于两座公共建筑之间：学院、市政厅、健康中心和市场之间。它所符合的城市空间是每个建筑都位于工地上的自由道路的结果，一个没有形状的空间，分散的，可以说是残存的，不像周围的城市布局。在这个不适宜居住的地方建立一个新的、更友好的秩序，是该项目的基本意图之一。

The site is a void located between two public buildings: the College, the Town Hall, the Health Center, and the Market. The urban space it conforms is the result of the free way in which each building is located on the site, a space without shape, scattered, arguably residual, unlike the urban layout around it. Establishing a new, friendlier order, under the conditions of this inhospitable place, has been one of the basic intentions of the project.

 © Roland Halbe

罗兰·哈贝

因此，考虑到场地的面积很大，我们设计了一套建筑物的组织结构，这些建筑物将合理地定位剧院，并为公众提供公共空间，这一职业将促进规划的多样性，允许灵活地使用空间、彩排室、露台、展览厅-广场、自助餐厅等。

Thus, given the large size of the site, we designed an organization for the set of buildings that would locate the theatre logically, and generate generate public spaces available to the public, an occupation that will contribute to a programmatic versatility, allowing flexible use of spaces, rehearsal rooms, patios, exhibition hall-plaza, cafeteria, etc.

 © Roland Halbe

罗兰·哈贝

它不仅仅是一座独立的建筑，就像相邻的建筑一样，它是一个公众渗透、整合和补充剧院的城市建筑。鉴于建筑物的特点和该地方的特殊天气条件，我们特别强调在内外之间建立过渡空间，在建筑物之间和建筑物下创造空间，使会议和参与成为可能。

More than a freestanding building, like the adjacent constructions, it is an urban piece where the public penetrates, integrates, and complements the theater. Given the characteristics of the building and the particular weather conditions of the place, we put special emphasis on creating transitional spaces between outside and inside, spaces between and under the building which enable meeting and participation.

 © Roland Halbe

罗兰·哈贝

这座建筑以古典的方式建立在一个凸起的基座上，目的是把它放在一个更高的平面上，以强调它的独特性，并尽可能减少地下室的开挖。各级之间的过渡是通过一个斜道和宽楼梯系统进行的。

The building rests on a raised plinth, in the classical manner, with the intention of placing it on a higher plane that emphasizes its uniqueness and reduces the excavation required for the basement as much as possible. The transition between levels is carried out by a system of ramps and wide staircases.

 © Roland Halbe

罗兰·哈贝

公共通道发生在东北面正面的大前廊下，从前面的广场，一个地方，一方面允许必要的距离，周围的建筑物，另一方面，让人们聚集在展示时间，一个免费的空间，建议在任何公共建筑，一个具有代表性的空间，提高其作为一个独特的建筑的品质。阳光和阴凉的区域，铺好的或美化的，在那里人们可以在白天相遇或过境，或者穿过它们进入室内空间和多用途区域。售票处位于正中庭旁边。

Public accesses occur under the large front porch of the NE facade, from the front square, a place that allows on one hand the necessary distance from the surrounding buildings, and on the other for people to gather at showtimes, a free space advisable in any public building, a representative space that enhances its qualities as a unique building. Areas of sun and shade, paved or landscaped, where one can meet or transit during the day, or cross them to access the interior spaces and multipurpose area. The ticketing office is located next to the main atrium.

 © Roland Halbe

罗兰·哈贝

我们把交叉观点放在优先位置，总是提供各种不同的观点。车辆坡道在SE端，在场地的最低点。

We have prioritized crossed views, always offering a variety of viewpoints. The vehicle ramp is at the SE end, at the lowest point of the site.

另一方面，装卸区也允许进入后台和舞台。在它旁边，从霍默罗街，是一个限制进入比索的通道，通向一个隐藏在外面的庭院，这个庭院组织和分配剧院的所有半公共或私人区域：排练室，后台，行政管理。

On the other side, the loading and unloading area also allows access to the backstage and stage. Next to it, from Homero Street, is an access restricted to pesonnel, that leads to a courtyard hidden from the outside that organizes and distributes all semipublic or private areas of the theater: rehearsal room, backstage, administration.

 © Isao Suzuki

(3)铃木岛树(Isao Suzuki)

由于剧院的组织，大厅是不对称的。它位于看台的支架下，并邀请用户到场，展示大容量的橙色剧场。格子过滤光和与正方形的关系。两边是楼梯、厕所和自助餐厅，设计时可以独立操作。空间序列和视觉关系是其清晰度的关键要素。我们还寻求尽可能减少画廊，而设计更宽和更好的照明访问空间。

The lobby is asymmetrical due to the organization of the theater. It is under the bracket of the stands, and invites users to be there, displaying the large orange volume of the theatre. A lattice filters light and the relationship with the square across. On the sides are stairs, toilets and a cafeteria, designed with the possibility of operating independently. Spatial sequences and visual relationships are critical elements in its articulation. We also sought to reduce galleries as far as possible, designing instead wider and better lit access spaces.

这个剧院有四百名观众。连续林分的设计(具有可变斜率)，由于能见度和声学行为的原因，被认为是最佳的，因为它避免造成由圆形剧场和类似剧院的部分造成的聋区。在它和整个周边是一个技术楼层和投影和控制摊位。

The theatre has a four hundred spectator capacity. Continuous stands were designed (with a variable slope), considered optimal for reasons of visibility as well as acoustic behavior, since it avoids causing deaf areas created by amphitheaters and sections of similar theaters. On it and around the entire perimeter is a technical floor and the projection and control booth.

 © Roland Halbe

罗兰·哈贝

舞台区域就像一个想象工厂，需要一个正确的操作，这意味着它的要素和特定组织的特定维度是不可忽视的。

The stage area, like a factory of imagination, requires a correct operation, this implies specific dimensions of its elements and a particular organization which should not be ignored.

 © Roland Halbe

罗兰·哈贝

屏风墙和钢筋混凝土板的结构设计为全方位的大板折叠，形成了建筑空间。上面是第二种更薄、更轻的铜结构，与第一种结构平行。特别注意控制工件的尺寸、方向、纹理、亮度和氧化。两种合金与天然铜一起使用。一种随着光线和时间的推移而变化的材料，使建筑物具有自己的特性。黎明时，铜的颜色会变冷；白天，坚硬的表面上会有阴影，反光非常强烈，而日落时，颜色会变得更温暖和红色，晚上又会变成绿色-蓝色。这种材料的崇高使用提高了建筑物在这样一个地方的代表性，在那里集体性质反映在其机构上。

The structure of screen walls and reinforced concrete slabs is designed as a large sheet folding in all directions shaping the built spaces. Above it is a second, thinner, lighter copper structure, parallel to the first. Special care was devoted to control the size of the pieces, orientation, texture, brightness and oxidation. Two alloys were used in conjunction with natural copper. A material that changes with light and with the passage of time giving the building its own character. During the dawn copper colors are colder; throughout the day shadows are cut on hard surfaces and reflections are very powerful, while at sunset colors become warmer and red, changing yet again at night into green - blue. The noble use of the material enhances the representativeness of the building in a place like this, where the collective nature is reflected on its institutions.