架构师提供的文本描述。2009年4月，意大利-委内瑞拉中心新服务大楼举办了一次竞赛，为位于加拉加斯的意大利委内瑞拉中心网球区之一建造一座新的服务大楼。这座新建筑需要作为2008年11月降雨期间被山体滑坡摧毁的建筑物的替代物。

Text description provided by the architects. Italian-Venezuelan Centre New Services Building In April 2009 a competition for a new services building for one of the Tennis area of the Italian Venezuelan Centre, located in Caracas was organized. The new building was required as replacement for the one destroyed by the landslides during the rainfalls of November 2008.

 © Roberto Puchetti

c.Roberto Puchetti

方案需求分为2(2)个领域：在地面一级的参与者将完全使用的需求，以及位于上述级别的社区其他成员将使用的方案需求。在产生阴影和交叉通风的基础上构思了一个新的空间。一种基于经济手段的方法指导有关结构系统和雨水收集系统的决策。

The programmatic requirements were split in 2 (two) areas: the ones to be used exclusively by the players, located at ground level and the ones to be used by the rest of the community, located on the level above. A fresh space was conceived based on the generation of shadows and cross ventilation. An approach based on the economy of means guided the decisions regarding the structural system and the rain water collection system.

 © Roberto Puchetti

c.Roberto Puchetti

建筑周围是总部大楼(80年代建造)和中心其他基础建筑(建于60年代)，所有这些建筑都是由建筑师安东尼奥·平扎尼(Antonio Pinzani)设计的。60年代的建筑具有特殊的几何特征：薄的双曲混凝土表面(双曲线抛物面或HYPAR)覆盖着餐馆、剧院、通道等空间。使用这些贝壳作为雨伞，这表明建筑师的意图是创造空间，对天气和周围环境敏感。对于总部大楼，除了第一栋，还有20年，Pinzani采用了一种类似的设计策略，将其提升到下一层：一个更大的屋顶覆盖了几个不同等级的流体空间及其阴影。

The Site The building is surrounded by the Headquarters buildings (built during the 80’s) and the rest of the Centre foundational buildings (built during the 60’s), all of them designed by Architect Antonio Pinzani. A particular geometry characterizes those buildings from 60’s: thin double curved concrete surfaces (Hyperbolic Paraboloids or HYPAR) cover spaces such as restaurants, theatre, access area, etc. The use of these shells as umbrellas makes evident the architect’s intention to create spaces sensible to the weather and the surroundings. For the Headquarter building, 20 years apart from the first ones, Pinzani makes use of a similar design strategy taking it to the next level: a single roof, at a bigger scale, cover several fluid spaces of different hierarchy with its shadow.

 © Roberto Puchetti

c.Roberto Puchetti

当阴影创建卷时，设计过程被一个在热带给阴影空间的“先验”值所刺激。当ArmandoReverón试图在他的画中突出加勒比地区令人眼花缭乱的光线时，他开始在一幅白色帆布上绘制出这些光线。那么，是否有可能想出一种建筑构图，试图通过用光线染暗平面来突出阴影呢？

When the shadow creates the volume The design process was stimulated by an “a priori” value given in the tropics to the shadowed spaces. When Armando Reverón attempted to highlight the blinding light of the Caribbean in his paintings, he started working them out from a white canvas a priori stained with shadows. Is it then possible to think on an architectural composition that attempts to highlight the shadows by working out with lights staining a dark plane?

 © Roberto Puchetti

c.Roberto Puchetti

设计过程是基于关系光-阴影到阴影-光的倒置，也就是说，它开始于预先绘制所需的阴影，然后是与这些阴影相对应的体积和屋顶。其结果是一个屋顶，它组织和支配着构图，同时强调了包含程序的卷间空间的流动性。通过上述反演生成的立面由朝北的规则体积和向南的一系列不规则体积组成。由于屋顶表面的几何形状，它既是一种阴影装置，也是一种美学元素，产生了不同的阴影强度。

The design process is based on the inversion of the relationship Light-Shadow into Shadow-Light, that is, it started by drawing the shadows needed a priori, followed by the volumes and roofs that should correspond to such shadows. The result is a roof which organizes and dominates the composition while emphasizes the fluidity of the spaces between the volumes containing the program. The facades, generated through the inversion described above, are composed of a north facing regular volume and a series of irregular volumes facing south. Due to the faceted geometry of its soffit, the roof becomes both a shadowing device as well as an aesthetic element, creating different shadows intensities.

 © Roberto Puchetti

c.Roberto Puchetti

在整个设计过程中，在环境影响和经济手段方面都特别注意到了提案的可持续性。当支柱数目从12根减至8根时，结构系统变得极为有效，比原来的预算减少了30%。由于向南设计弧形挡土墙，节省了25%的混凝土和钢材。这种单元作为整体结构，对附近山体的侧向力作出更有效的响应。

During the entire design process the sustainability of the proposal was given special attention both in terms of the environmental impact and the economy of means. The structural system became extremely efficient when the number of pillars was reduced from 12 to 8, achieving a cost reduction of 30% on the original budget. Another 25% of savings was achieved on the amount of concrete and steel due to the design of the arc shaped retaining wall to the South of the site. Such element works as a monolithic structure responding in a more efficient way to the lateral forces of the mountain nearby.

 © Roberto Puchetti

c.Roberto Puchetti

同样，从环境角度看，减少能源消耗是可能的(22.5Kw/小时)：屋顶产生的大量阴影有助于避免使用任何空调系统，并将室内温度降低6度，创造舒适的空间。在六月(最热的一个月)，建筑物受到足够的保护，不受太阳辐射的影响，而在12月，阴影覆盖了95%的空间。

Likewise, from an environmental point of view a reduction in energy consumption was possible (22.5Kw/hr): the considerable amount of shadows produced by the roof helps avoiding the use of any air conditioning system and reduces the interior temperature in 6 degrees, creating comfortable spaces. In June (the hottest month) the building is protected enough from solar radiation and in December the shadow covers up to 95% the space.

 © Roberto Puchetti

c.Roberto Puchetti

屋顶由四个花萼组成，每个花萼由一个作为漏斗的柱子支撑，这样就可以收集到被花萼捕捉到的雨水。这个简单的系统通过每月收集大量的水来帮助节省数百升水。收集的水用于向WC蓄水池充电，清洁地板，灌溉绿地和运动区。缺乏的预算意味着无法使用先进的环境控制技术系统。建筑师只能依靠建筑及其要素(太阳方向、自然通风、建筑要素的尺寸和比例)作为与天气制约因素谈判的工具。

The roof is made out of four calyces, each one of them supported by a column which acts as funnel allowing the collection of rain water captured by the calyces. This simple system helps save hundreds of liters by collecting a considerable amount of water per month. The collected water is used for charging WC cisterns, cleaning of floors and irrigation of green and sports areas. The scarce budget meant that the use of sophisticated technological systems of environmental control were out of reach. The architect could only count on Architecture and its elements (solar orientation, natural ventilation, dimensions and proportions of architectural elements) as the tool to negotiate with weather constraints.

 © Roberto Puchetti

c.Roberto Puchetti

自19世纪中叶以来，乘船旅行作为对更美好未来的象征，已被记录在案。这艘船、它的意义和空间结构是任何到达南美洲的移民记忆的一部分。记忆虽然是一个抽象的领域，但在物理上是不稳定的，很难理解，但却成为影响建筑物材料调色板的决定性因素。钢作为结构体系的使用形式，使人联想起船上的桅杆，而上锁的木材，使人想起船底，在居民记忆的再生中起着重要的作用。

The travelling by ship as mean to a better future has been documented since middle 19th century. The Ship, its meaning and spatial configuration are part of the memory of any immigrant who arrived to South America. The memory, though an abstract territory, physically volatile and difficult to apprehend, became a decisive aspect which influenced the materials palette for the building. The use of steel as structural system takes a form that evokes the masts in the ships, and the locked timber, which reminds of the ship flooring, play an important role in the rebirthing of the inhabitant’s memory.

从这座建筑在其木质甲板上创造的窗户上，就像60年前到达这片海岸的那艘船的船头，这位意大利移民透过一片梦幻般的景象向北望去，将看到阿维拉山，并将像以前一样，回忆起一个新生命的梦想，让他穿越一片无限的海洋地平线。

From the window the building creates on its wooden deck that resembles the prow of the ship which arrived to these shores 60 years ago, the Italian immigrant, looking north through a dreamy sight will see The Avila Mountain, and as before, will remember the dreams of a new life that moved him to cross an infinite horizon of Sea.