架构师提供的文本描述。在许多方面，这个项目分享了俄罗斯马蒂罗什卡娃娃的逻辑。不仅仅是在最字面的，物理的意义上，其中一个事物直接结合到另一个事物中，而且在一个时间意义上，其中一个实际上起源于另一个事物。该项目最初的情况为这一条件奠定了有利的背景：

Text description provided by the architects. In many ways this project shares the logic of a Russian matryoshka doll. Not only in the most literal, physical sense, in which one thing is directly incorporated into another, but also in a temporal sense, in which oneactually originates within the other. The initial circumstancesof this project established a favorable backdrop for this condition:

红牛音乐学院(RBMA)是一个游牧的年度音乐节。在过去的14年里，这一活动一直在不同的世界城市举行，欢迎60名预先选定的国际参与者，并围绕他们与音乐家，制作人和DJ，从而使他们有机会试验和交流知识和想法的音乐世界。

The Red Bull Music Academy (RBMA) is a nomadic annual music festival. For the last 14 years, this event has been held in a different world city, welcoming the sixty pre-selected international participants and surrounding them with musicians, producers, and DJs, thereby giving them the opportunity to experiment with and exchange knowledge and ideas about the world of music.

2011年版RBMA将在东京举行，但考虑到地震的破坏性影响，必须改变地点。只有5个月的时间，马德里市接管了这座城市。位于20世纪早期工业仓库建筑群中的马塔迪罗马德里创意空间被指定为此次活动的新地点。

The 2011 edition of RBMA was going to be held in Tokyo, but given the devastating effects of the earthquake, the location had to be changed. With only five months to plan, the city of Madrid took over. The creative space known as Matadero Madrid, which is located in an early 20th century industrial warehouse complex, was designated as the event’s new location.

一个中期项目，马塔德罗马塔迪罗

A medium-term project, The Nave de Músicain Matadero Madrid

 Axonometric

RBMA启动了新的Nave de Música(音乐仓库)方案，这是一个专门用于音频创作和研究的空间。以现有的安装为出发点，并考虑到其试验性质，根据适应性和可逆性的标准，将建设项目视为临时结构，使其易于随着时间的推移完全或部分地重新配置。

The RBMA launched the programming for the new Nave de Música (music warehouse), a space specifically dedicated to audio creationand research. Using the existing installation as a starting point and given its experimental character, the construction project was approached as a temporary structure based on the criteria of adaptability and reversibility that would make it easy to completely or partially reconfigure over time.

在这种情况下，在紧急情况下，这项工作开始于能够满足活动的精确技术和声学需要的基础设施，此外还加速、促进和丰富了将在参与的音乐家之间发生的一系列极为激烈的艺术接触，同时增加了一个记录和记录所发生的一切的环境。

Under these circumstances and in an emergency situation, the work began on an infrastructure capable of meeting the precise technical and acoustic needs of the event, in addition to accelerating, promoting and enriching a series of extremely intense artistic encounters that would take place between the participating musicians, whileat the same time adding anenvironment that would record and archive everything taking place.

 © Miguel de Guzmán

米格尔·德古兹曼

该提案是根据以下五项准则拟订的：

The proposal was developed based onfive guidelines:

 © Miguel de Guzmán

米格尔·德古兹曼

1.最后期限和预算。设计必须具体遵守一些非常紧迫的最后期限和预算问题。建造工程必须在不到两个月的时间内完成，实施的解决方案只需建造较轻的建筑，并力求在标准化和适应性之间取得平衡。

1. Deadlines and budget. The design had to specifically comply with some very tight deadlines and budgetary concerns. The construction had to be completed in less than two months, implementing solutions that would require only light construction and seeking a balance between standardization and adaptability.

 General Axonometric

一般轴测

2.关于仓库的事。马塔迪罗的15号仓库是一个露天空间，由一个金属结构和一个砖墙正面组成。这个建筑面积约4，700平方米，直接向外开放。考虑到这一项目的标准之一是不修改仓库本身，而是将其完全保留在干预之前。

2. Regarding the warehouse. Warehouse 15of the Matadero is an open space comprised of a metallic structure with a brick facade. This structure, which measures about 4,700 m2, opens directly to the outside. One of the criteria taken into account for this project was that of not modifying the warehouse itself, but rather leaving it exactly as it was before the intervention.

 © Miguel de Guzmán

米格尔·德古兹曼

3.程序要求。该项目的组织明确地建立了一个具体的配置，分为四个区域：办公室、音乐家工作室、录音室和用于会议、广播和休息室的区域。所选择的空间和建设性系统将允许为今后的活动重新配置这些空间。

3. Program requirements. The program’s organization clearly establishes a specific configuration that is grouped into four areas: offices, studios for musicians, recording studios and an area used for conferences, radio and as a lounge. The chosen spatial and constructive systems would allow for the reconfiguration of these spaces for future events.

 Axonometric

4.声学。活动的声学要求决定了它的几何学，以及材料的选择和建设性的解决方案。每个区域都获得与其使用相对应的具体逻辑，从而使其能够唯一地解决其声学需求。一些不同的解决方案包括：录音室的巨大墙壁，会议室内的布穹顶的吸水性表面，以及非平行展馆的结构和几何独立。

4. Acoustics. The event’s acoustic requirements determined itsgeometry, as well as the choice of materials and constructive solutions. Each of the areas acquireda specificlogic that corresponded with its usage, thereby making it possible to uniquely resolve its acoustic needs. Some heterogeneous solutions included the massive walls in the recording studios, the absorbent surfaces of the cloth domes in the conference room and the structural and geometric independence of the nonparallel pavilions.

5.临时的。鉴于这一项目的临时性质，并为了避免影响今后对仓库的干预，它的设计是以一种不留下痕迹的方式拆除。即使是“最重的”行动，其设计也是可逆的，并为今后的活动提供方便的回收利用。这方面的例子包括使用沙袋来建造录音室的墙壁和盆栽植物，这些植物后来可以移植到马塔德罗或城市的其他地区。

5. Temporariness. Given the temporary nature of this project and in order to avoid influencing future interventions in the warehouse, itwas designed to be dismantled in such a way so as to not leave a trace. Even the “heaviest” actions were designed to be reversible and to allow for their easy recycling for future events. Examples of this included the use of sandbags to make up the walls of the recording studios and potted plants that could later be transplanted in other areas of the Matadero or the city.

因此，该项目以零碎的城市结构的形式在仓库内部展开，在这种结构中，邻近性和独立性之间的可变关系以及先前的存在和表现可以为其居民社区提供意想不到的阶段。

As a result, the project unfolded in the warehouse’s interior in the form of a fragmented urban structure in which the variable relationship between proximity and independence, and preexistence and performance could offer unexpected stages to its community of inhabitants.