Level 00 Floor Plan

00楼平面图

架构师提供的文本描述。建筑不断地从隐藏在我们记忆中的图像中滋润自己，这些想法变得尖锐而清晰，出人意料地标志着一个项目的开始。也许这就是为什么科尔多瓦仍然潜伏着他的泛伊斯兰文化的回声，它在潜意识中不仅仅是我们建议中的一个脚注。面对全球文明在生活的各个方面强加给我们的同质化，当代艺术中心渴望诠释一种不同的西方文化，超越这一说法的陈词滥调。

Text description provided by the architects. Architecture nourishes itself constantly from images hidden in our memory, ideas which become sharp and clear and unexpectedly mark the beginning of a project. Perhaps this is why the echo of the hispano-islamic culture which is still latent in Cordoba has subconsciously signified more than a footnote in our proposal. In the face of the homogeneity which our global civilisation imposes in all aspects of life, the Centre of Contemporary Art aspires to interpret a different western culture, going beyond the cliché of this expression used so frequently.

 © Roland Halbe

罗兰·哈贝

不相信当今常用的中立和通用容器的功效和灵活性，让我们想象一座与一个地方和一个遥远的记忆紧密相连的建筑，在那里，每个空间都是单独塑造的，一个时间可以改变自己，并以不同的维度、用途和空间质量的序列展开。我们一直是对隐藏的几何法则的崇拜者，这些艺术家、工匠和建筑大师通过这些法则，能够在清真寺内创造一个多元的、各向同性的空间，一座由拱顶和穆卡纳窗户构成的建筑，装饰图案与格子窗的排列，铺路和阿塔耳式装饰，或伊斯兰传统诗歌和故事中隐含的规则和叙事节奏。

Distrusting the supposed efficacy and flexibility of a neutral and universal container commonly used nowadays, let us image a building closely linked to a place and to a far memory, where every space is shaped individually, to a time which can transform itself and expand in sequences with different dimensions, uses and spatial qualities. We have always been admirers of the hidden geometric laws through which those artists, artisans and master builders of a remote islamic past were capable of creating a multiple and isotropic space within the Mosque, a building facetted with vaults and muqarna windows, permutations of ornamental motifs with lattice windows, paving and ataurique decorations, or the rules and narrative rhythms implicit in the poems and tales of Islamic tradition.

 © Fernando Alda 

(费尔南多·阿尔达)

就像那些在另一个故事里，在另一个…里包含一个故事的文学结构-一个没有结束的故事-我们认为这个项目是从一个系统开始的，这个系统是由一个重复的几何图形产生的，它起源于一个六角形的形状，它反过来包含三种不同类型的房间，150平方米、90平方米和60平方米。就像一个组合博弈一样，这三个区域的排列产生了不同空间的序列，这些序列可能会产生一个单一的展区。

Like those literary structures which include a story within another story, within yet another… - a story without an end – we conceived the project as starting with a system, a law generated by a repeating geometric pattern, originating in a hexagonal shape, which in turn contains three different types of rooms, with 150 m², 90 m², and 60 m². Like a combinatorial game, the permutations of these three areas generate sequences of different spaces which possibly can come to create a single exhibition area.

 © Fernando Alda 

(费尔南多·阿尔达)

一楼的艺术家工作坊和上层的化验室毗邻展览厅，两者之间没有严格的区别：艺术作品可以在作坊中展出，展览馆也可以用作艺术创作的场所。会议室-黑匣子-是专为戏剧制作、会议、电影放映，甚至视听展览而设计的舞台区域。

The artists’ workshops on the ground floor and the laboratories on the upper floor are located adjacent to the exhibition halls, to the point where there is no strict difference between them: artistic works can be exhibited in the workshops while the exhibition halls can also be used as areas for artistic production. The assembly room - the black box – is designed as a stage area suitable for theatrical productions, conferences, film screenings, or even for audiovisual exhibitions.

 © Fernando Alda 

(费尔南多·阿尔达)

当代艺术中心不是一个集中的有机体：它的中心从一个领域移动到另一个领域，它无处不在。它被设计成与公共人行道相连的一系列房间，在那里，建筑物的不同功能结合在一起。它被认为是一个十字路口和聚会场所，是展览和思想交流的公共区域，可以观看装置、参观展览、参观咖啡厅、使用中介石、在黑匣子里等待展览的开始，或者也许可以凝视瓜达基韦河(Guadalquivir River)。

The Centre of Contemporary Art is not a centralised organism: its centre moves from one area to another, it is everywhere. It is designed as a sequence of rooms linked to a public walkway, where the different functions of the building come together. Conceived as a crossroads and meeting place, it is a communal area for exhibitions and exchange of ideas, to view an installation, see exhibitions, visit the café, use the mediateque, wait for the start of a show in the black box, or perhaps gaze at the Guadalquivir river.

这些材料将有助于说明贯穿整个项目的艺术工厂的特点。在内部，混凝土和连续混凝土地板的墙和板，建立了一个空间区域，可以通过不同形式的干预单独改造。一个由电力、数字、音频和照明基础设施组成的网络创造了在任何地方进行多种视图和连接的可能性。

The materials will contribute to suggest the character of an art factory which pervades the project. In the interior, walls and slabs of concrete and continuous concrete floors, establish a spatial area capable of being transformed individually using different forms of intervention. A network of electrical, digital, audio and lighting infrastructure creates the possibility of multiple views and connections everywhere. 

 © Fernando Alda 

(费尔南多·阿尔达)

在外面，这座建筑渴望通过一种材料来表现自己：GRC预制的面板，这些面板同时覆盖着不透明的和穿孔的外墙，或者构成大厅的平坦和倾斜的屋顶。该系统的工业化概念，以及材料的抗渗性、绝缘性和轻质性等条件，有助于保证其实施的精确性和合理性，同时也是指导整个工程的组合概念之一。

Outside, the building aspires to express itself through one material: GRC prefabricated panels that at the same time clad opaque and perforated façades, or make up the flat and sloping roofs of the halls. The industrialised concept of the system as well as the conditions of impermeability, insulation and lightness of the material, contribute to guarantee the precision and rationality of its execution but also plays a part in the combinatory concept which governs the whole project.

 © Fernando Alda 

(费尔南多·阿尔达)

河上的正面，一个真正的面具，主角的外部正面的建筑物，被设想为一个屏幕穿孔的几个多角形开口与LED型单色地图在他们身后。通过一个适当的计算机程序，视频信号将生成图像和文本，这些图像和文本将反映在河流表面，并使专门为该地方设想的装置得以安装。白天，自然光线会透过孔洞，穿透室内有盖的人行道。

The facade onto the river, a true mask that protagonizes the exterior facade of the building, is conceived as a screen perforated by several polygonal openings with LED-type monochromatic maps behind them. With an appropriate computer program, video signals will generate images and texts that will be reflected on the river’s surface and enable installations specifically conceived for the place.. During the day, natural light will filter through the perforations and penetrate the interior covered walkway.

在当代艺术中心，艺术家、参观者、专家、研究人员和公众将以当代的方式聚会，没有明显的空间层次。它将是一个创造艺术过程的中心，它将把建筑空间和公众紧密联系在一起：一个开放的实验室，在那里，建筑试图激发新的表达方式。最近的一些与最新技术有关的艺术提案似乎脱离了物质，淹没在一个与具体地方脱节的虚拟之中，但也许通过它，我们不同意这种解释-这种解释已经司空见惯-我们相信建筑物本身、瓜达尔基韦河、科尔多瓦的现在和过去，不仅是一种偶然的情况，而且-对我们来说也是如此-将是对话、协议或可能被拒绝的开始。难道这些不也是所有艺术表达的基础吗？

In the Centre for Contemporary Art, artists, visitors, experts, researchers and the public, will meet as in a contemporary zouk, without an obvious spatial hierarchy. It will be a centre for creative artistic processes which will link closely the architectural space with the public: an open laboratory where architecture attempts to provoke new modes of expression. Some of the most recent artistic proposals linked to the most recent technologies appear to move away from materiality and submerge themselves in a virtuality disconnected from a concrete place, but perhaps through it, disagreeing with this interpretation – which has become a commonplace – we are convinced that the building itself, the Guadalquivir river, the present and the past of Cordoba, will not simply be a casual circumstance but – as it has been for us as well – will be the start of a dialogue, agreement, or perhaps rejection. For are these not also emotions which underlie the search for all artistic expression?