© Carlos Fernández Piñar

卡洛斯·费尔南德斯·皮纳尔

在马德里老屠宰场的一个小屋檐下，瓦片被拆除，堆放，并被运入，以满足需要。这可以是这次发言的总结。

In a small nave of the old slaughterhouse of Madrid, nave 8B, the tiles of a roof in disrepair have been removed, piled, and brought inside to meet a need. This could be the summary of this intervention.

马德里的屠宰场是在1907年左右设计的，建于20世纪的第二个十年期间，路易斯·贝利多，市政建筑师。在近60年的时间里，它在市中心的一个大型储藏室工作。在这段时间里，它表现出了它的功能美德和它的空间品质。多年来，在德国、荷兰和法国在这种类型的工业建筑中探索的现代运动的第一近似值，更多的争议已经证明了应用于立面的风格。从80年代起，屠宰场被移到了城市的外围。好战的小"工业城市"被忽略和遗忘。近年来，马德里市希望将这种恶化的综合体转变为城市的先锋、文化引擎。

The slaughterhouse of Madrid was designed around 1907 and built during the second decade of the twentieth century by Luis Bellido, municipal architect. For nearly sixty years it was working as a large pantry in the downtown area. Throughout this time, it demonstrated its functional virtues and its spatial qualities. More controversial has proved, over the years, the style applied to the facades, far from the first approximations to the Modern movement that were explored in this type of industrial buildings in Germany, Holland and France. From the eighties, the slaughterhouse was moved to the periphery of the city. The small "industrial city" projected by Bellido fell into neglect and oblivion. In recent years the city of Madrid wants to convert this deteriorated complex into an avant-garde, cultural engine for the city.

 © Carlos Fernández Piñar

卡洛斯·费尔南德斯·皮纳尔

Nave 8B是行政管理的空间。一个小的工作区，一个仓库和一个多用途的演讲或演讲空间。最初，它们是储存在Nave 8中生产的遗骸的支撑区，在那里皮肤被干燥和腌制。这是一个较小的内凹，但有一个有趣的空间。

The nave 8 B is the space for administrative management. A small working area, a warehouse and a multipurpose space for lectures or presentations. Originally, they were support areas for the storage of the remains produced in nave 8, where skins were dried and salted. It was a smaller nave but with an interesting space.

 © Carlos Fernández Piñar

卡洛斯·费尔南德斯·皮纳尔

干预的重点是恢复一个平瓦屋顶，做一个结构加固，并在内部条件，热和声学，以服务新的用途。这一过程以前曾在屠宰场的其他一些地方进行过，结果是堆积如山的瓦片、木材、鹅卵石和花岗岩板等堆积如山，等待运往填埋场。

The priority of the intervention was to restore a flat tile roof, make a structural reinforcement, and condition the interior, thermally and acoustically, to serve new uses. This process had been carried out before in some other naves of the slaughterhouse, and as a result, mountains of debris accumulated, from tiles, timbers, cobblestones, and granite slabs, waiting to be taken to the landfill.

我认为这个项目是由于机遇而产生的。在那些废墟里发现了机会。

I would think that this project arose from opportunity. From having discovered an opportunity in those ruins.

在探索一切合理可能性的过程中，建筑系统成为项目的创造者，在这个地方，在修复和建筑方面有着特定的伦理立场。

On the way to explore all reasonable possibilities, the construction system becomes a generator of the project, in a place where there is a specific ethical stance towards rehabilitation and architecture.

 © Carlos Fernández Piñar

卡洛斯·费尔南德斯·皮纳尔

找到的物体是怎么工作的？平铺的瓷砖是如何工作的？怎么堆起来的？准备得怎么样？它的感官特性、重量是什么？他们是怎么加入的？这些都是在这个过程中出现的一些问题。某些元素的缺乏会产生晶格，即光的通道。有时整块墙，半块用来装饰。拐角处的问题。建筑普遍存在的问题。同时，以同样的强度也是劳动和不完美。人与老的不完美，人的康复。我记得这份工作有一个幼稚的命令：“何塞，扭曲你自己，这不重要”，还有一个回应，一个来自经理的教训：“我不扭曲，因为总是有时间的。”充满振动的作品。集体工匠的振动，工匠声称理查德·塞尼特。

How does that found object work? How does the flat tile work? How is it stacked? How is it prepared? What are its organoleptic characteristics, its weight? How are they joined? These are some of the questions that arise in the process. The absence of some elements produces lattices, the passage of light. Sometimes a whole piece for the walls, half a piece for the finishes. The problem of the corners, the lintels. The universal problems of architecture appear. At the same time and with the same intensity are also labor and imperfection. The imperfection of man and the old, the recovered. I recall a naïve order for the work: "Jose, twist yourself, it does not matter", and a response, a lesson from the manager: "I do not twist, for that there is always time." A work of many full of vibrations. The vibrations of the collective artisan, the artisan claimed Richard Sennett.

 © Carlos Fernández Piñar

卡洛斯·费尔南德斯·皮纳尔

就像瑞典建筑师拉尔夫·厄斯金(Ralpherskine)的森林小屋一样，他把树干堆起来，以抵御严冬，这个项目也是生物气候。它是生物气候，因为瓷砖有助于热和声学舒适，它是可持续的，因为它重新创造了自己的东西。这是一个像小城镇建筑一样的生物气候，是在索里亚省发现的用陶瓷包着的壁炉。

Like the forest hut by Swedish architect Ralph Erskine, in which he piled trunks for protection from the harsh winter, this project is also bioclimatic. It is bioclimatic because the tile contributes to the thermal and acoustic comfort, and it is sustainable because it reinvents itself with what is available. It is bioclimatic like small town architecture, as the hearth-fireplaces clad in ceramic found in the province of Soria.

 © Carlos Fernández Piñar

卡洛斯·费尔南德斯·皮纳尔

这是一种干预，旨在尊重有效的空间配置，而不改变它。无论它的用途如何，它都证明了建筑作为一个合格容器的力量。一个经典的，永恒的空间概念，与古典主义无关，也不一定与意大利有关。面对路易斯·贝利多(Luis Bellido)应用于正面的“民族”风格，在这种情况下，这种风格被淡化了，作为前马德里学校的继承人消失了。没有任何先验的正式意愿的秩序、机会、参与、争论或清晰。一片我不知道的土地，超越了这个项目，超越了任何意图。架构师的角色退一步，按时从体系结构中移除。如果我们从三个维度来理解历史，那么历史就是悬的或螺旋的。这个项目解开了一些走过的路，打算达到汇合点。正如奥泰萨解释的那样，随着赛艇运动员们的回首，它前进着后退。从摩尔人瓷砖，从妇女的大腿作为一个模子，和它的手动放置，它转移到工业化的应用和它的扁平版本。现在，工业元素，惰性，被不同的理解，非文本化和与不可预测的体力劳动放在一起。

It is an intervention that aims to respect a valid spatial configuration, without changing it. It is proof of the power of architecture as a qualified container, regardless of its uses. A classic, eternal concept of space, nothing to do with classicism, nor necessarily with Italy. Facing the style, supposedly "national", that Luis Bellido applied to façades, in this case inside, the style is diluted, disappears as heir to the former School of Madrid. Order, opportunity, engagement, contention or clarity without any a priori formal will. A land unknown to me, beyond the project, beyond any intention. The role of the architect takes a step back, is removed from the architecture on time. History is pendular or helical, if we understand it in three dimensions. This project undoes some paths traveled, intends to reach meeting points. It advances receding, as the rowers, looking back, as Oteiza explained. From Moorish tiles, from the woman's thigh as a mold, and its manual placement, it moved on to an industrialized application and its flat version. Now industrial elements, inert, are understood differently, decontextualized and placed with the unpredictability of manual labor.

 Isometric view

这个项目的目的是将建筑理解为一种知识、文化和伦理体验。不要与社会或政治地位混淆。

This project aims to understand architecture as an intellectual, cultural, and ethical experience. Not to be confused with social or political positioning.

Architects Arturo Franco

Location Paseo de la Chopera, 14, 28045 Madrid, Spain

Category Interiors Architecture

Project Area 1000.0 m2

Project Year 2009

Photography Carlos Fernández Piñar