架构师提供的文本描述。瓦哈卡视觉艺术学院是应艺术家弗朗西斯科·托莱多的要求与自治大学Benito Juarez合作建立的。由于缺乏整合现有建筑的总体计划，该项目被设计成一个大花园，而不仅仅是另一座建筑。同时，校园内正在建设的建筑也产生了巨大的土质。这些偶然的因素意味着要建立一座地界，为艺术学校提供必要的隔离。由于日程和预算问题，学校计划分三个阶段进行。前两个已经建成，形成了所谓的“火山口”，它定义了校园其他地方的周边。

Text description provided by the architects. The School of Visual Arts of Oaxaca was developed at the request of the artist Francisco Toledo, in collaboration with the Universidad Autonoma Benito Juarez. The lack of a master plan integrating the pre-existing buildings led to the project being designed as a large garden rather than just another building. At the same time, the building under construction on the campus were producing huge amounts of earth. These contingent factors suggested raising a bank of earth to provide the isolation necessary for an art school. Due to calendar and budgetary issues, the school was planned in three stages. The first two have already been built, giving form to what's become known as "the crater", which defines its perimeter with regard to the rest of the campus.

 © Luis Gordoa

路易斯·戈多阿

这所学校有两种建筑类型。那些建在石头上的建筑起到了保留土堤和提供可用梯田的作用。它们的定位与两岸的面貌相对应，依用途而设庭院和窗户：行政区域和媒体图书馆向南看，教室主要向西和东看庭院。其他建筑都是独立于土堤之外的，都是朝北的-除了面向南北的画廊和主要演讲厅-并且是用压实的泥土建造的。这种有机材料不仅使建筑物具有其不规则和纹理的特点，而且还提供了一个建筑系统，有助于创造一种适合瓦哈卡市极端气候条件的小气候，并在声学上隔离教室。

The school has two building types. Those built in stone act to retain the earth banks and provide usable terraces. Their orientations correspond to the faces of the banks and have courtyards and windows depending on their use: the administrative area and media library have views southward, and the classrooms have mainly views onto the courtyards to the west and east. The other buildings are independent of the earth banks and are all north-facing--except the gallery and main lecture hall which faces north-south-and built using compacted earth. This organic material not only gives the buildings its character, with its irregularities and textures, but also provides a construction system that contributes to creating a microclimate that is perfect for the extreme climatic conditions of Oaxaca city, as well as acoustically isolating the classrooms.

决定在混凝土支撑上增加主演讲厅，在下面有一个露台，这就创造了项目的核心，并定义了一个建筑系统和一个减法过程，以提升这一标志性建筑。

The decision to raise the main lecture hall on concrete supports with a patio underneath creates the heart of the project and defines both a construction system and a process of subtraction to elevate this iconic construction.

 © Luis Gordoa

路易斯·戈多阿

北立面上的大窗户穿过车间，为建筑物提供了尽可能好的照明，将室内带入一个同等大小的空间，但在开阔的环境中，并减少了室内对阳光的直接曝光率。这些露台代表着一个格子地板-建筑物和露台分别是黑白方格-在那里，路径上的质量空洞创造了视觉消失点和不同的路线。每61厘米模版系的守恒使正面与太阳运动所产生的阴影相转换，它们也可用于悬挂、支撑或紧张物体。

Large windows on the north facade cross-ventilate the workshops and give the best possible lighting for the building, carrying the interior on into a space of equivalent size but in the open, and reducing the interior's direct exposure to sunlight. These patios suggested a checkered floor--with the buildings and patios the black and white squares respectively--where the mass-void in the paths created visual vanishing points and varied routes. The conservation of the formwork ties every 61 cm transforms the facades with the shadows created by the movement of the sun, and they can also be used to hang, support, or tense objects.

主入口被缩窄了，扭曲了外部对复杂物体的解读，从表面上看，它的规模很小，如果结构从外部到内部都在变大，那么从角度上看，这些物体的集合似乎形成了一个虚拟的外壳。因此，这一策略不是开放它们，而是为这些空间创建大堂，将它们与喧闹的外部隔开，银行作为非正式入口，创造出对交易量不断变化的看法。这座建筑是作为一个花园建造的，是一个工作和社交的空间，可以灵活地以各种方式居住。

The main entrance is foreshortened, distorting the reading of the complex from the outside with its apparently small scale, with a collection of bodies in perspective seeming to form a virtual shell, given the structures grow in size from the exterior to the interior. So instead of opening them up, the strategy involves creating lobbies for the spaces to isolate them from the noisy exterior, with the banks acting as informal entrances that create an ever-changing perception of the volume. The building was built as a garden, as a space in which to work and socialize, with the flexibility to be inhabited in various ways.

 © Rafael Carrillo

拉斐尔·卡里略

弗朗西斯科·托莱多在外部设计中扮演了关键角色。砾石覆盖的露台上的Macuil树有树冠，它们的影子创造了工作的空间，而土堤上种植着低维护的植物，以使学校周围的花园成为一个活生生的实体。

Francisco Toledo played a key role in designing the exteriors. Macuil trees in the gravel-floored patios have canopies whose shadows create spaces in which to work, and the earth banks are planted with low-maintenance plants in order for the garden surrounding the school to be a living entity.