伊蕾娜·魯伊斯·巴桑,朱琳

記憶與再生

欄目主持：阿爾伯托·博洛尼亞，米凱利·伯尼諾，皮埃爾-阿蘭·克羅塞特

下文通過艾伊蕾娜·魯伊斯·巴桑的照片和文字介紹了卡塔赫納的城市復(fù)興，作為一個(gè)近期成果，它所代表的城市復(fù)興手法在至少30年前起源于西班牙。以著名的1980年代的巴塞羅那為例：在當(dāng)時(shí)的城市規(guī)劃委員奧里奧爾·波依加斯的指導(dǎo)下，城市復(fù)興不是通過一個(gè)大的城市規(guī)劃實(shí)現(xiàn)，而是通過設(shè)計(jì)一系列的建筑干預(yù)措施為城市的戰(zhàn)略區(qū)域帶來活力和價(jià)值。當(dāng)時(shí)有一種說法是“城市針灸”。在這樣的操作中，“記憶”承擔(dān)著左右選擇的根本性作用：在將建筑插入已有的城市肌理（歷史的或更晚近的）來定義新意義的同時(shí)，你必須保有對(duì)它們過去的強(qiáng)烈認(rèn)識(shí)，以了解應(yīng)優(yōu)先考慮哪些區(qū)域。

從這個(gè)角度上說，在卡塔赫納，拉斐爾·莫內(nèi)歐的羅馬劇院博物館就是一個(gè)典型的例子。在拆除歷史中心的一些房屋時(shí)，考古遺跡出人意料地重見天日，于是誕生了這樣一個(gè)項(xiàng)目，它及時(shí)利用這個(gè)機(jī)會(huì)，更新了城市的一大片區(qū)域，將市政廳、新的博物館建筑、舊的大教堂和劇院聯(lián)系在一起。此外，卡塔赫納的案例也展示了幾十年來，通過建筑進(jìn)行城市更新的方法是如何成熟的。如果說在過去，建筑質(zhì)量的“注入”總是需要強(qiáng)烈的、可識(shí)別的存在感和明確的新意特征，那么魯伊斯·巴桑文中所強(qiáng)調(diào)的“透明性”主題則顯示了如何用更溫和的后退一步的方式，達(dá)到同樣的效果：巴斯克斯·孔蘇埃格拉設(shè)計(jì)的大部分建在碼頭平面以下的阿克瓦博物館，以及萊哈拉加設(shè)計(jì)的蒂沃利大廈的雅致立面都是重要的例子。（米凱利·博尼諾）

Memory and Regeneration

Column Editor: Alberto Bologna, Michele Bonino, Pierre-Alain Croset

The urban regeneration of Cartagena, presented in the following pages through photographs and text by Irene Ruiz Bazán, represents the recent result of an approach that had its most signif icant roots precisely in Spain, at least three decades ago. Think for example of the famous case of Barcelona, in the 1980s: under the guidance of Oriol Bohigas, at that time when the City Councilor for Urban Planning, the revival of the city occurred not through a large urban plan, rather by designing a series of architectural interventions that brought vitality and value in the areas of the city considered more strategic. There was talk then of "urban acupuncture". In such kind of operation, "memory" takes on the fundamental role of addressing the choice: while inserting architecture into existing urban fabrics (historical or more recent) to define new meanings, you cannot ignore a strong awareness of their past in order to understand which places to privilege.

In Cartagena, in this sense, the Museum of the Roman Theatre by Rafael Moneo is paradigmatic. The unexpected reappearance of archaeological ruins at the time of demolishing some houses in the historic centre, has generated a project that exploits this punctual opportunity to regenerate a large part of the city, where the Town Hall, the new museum building, the old cathedral and the theatre are all in one path. Furthermore, the case of Cartagena demonstrates how the approach to urban regeneration through architecture, has matured over the decades. If originally the "injections" of architectural quality always required a strong and recognisable presence, an explicit character of newness, the theme of "transparency" highlighted by Ruiz Bazán shows how the same result can be reached in a more moderate way, taking a step back: the Arqva Museum of Vasquez Consuegra, largely built below the level of the quay, and the delicate elevation of the "Tivoli" by Lejarraga are signif icant examples. (Michele Bonino)

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1.2 阿克瓦博物館，由巴斯克斯·孔蘇埃格拉設(shè)計(jì)/Arqva Museum, Vazquez Consuegra

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3.4 巴特爾禮堂，由塞爾加斯-卡諾設(shè)計(jì)/Batel Auditorium, Selgas-Cano

卡塔赫納是位于地中海沿岸的一個(gè)西班牙城市，坐落在由5 座山丘組成的復(fù)雜地貌上，人口為215,000。城市最初由迦太基人建立，是羅馬時(shí)代的省會(huì)。羅馬帝國消失后，卡塔赫納成為伊比利亞半島上拜占庭領(lǐng)地的一部分，是其最重要的城市之一，也可能是其首府，被維西哥特人占領(lǐng)后摧毀。

在21 世紀(jì)的第一個(gè)10 年里，該市進(jìn)行了各種不同方式的改造，這些改造的基礎(chǔ)是通過不同性質(zhì)的干預(yù)來修復(fù)和美化它的歷史遺產(chǎn)。其中包括重要的公共建筑，如國家水下考古博物館（巴斯克斯·孔蘇埃格拉，2008）、卡塔赫納羅馬劇院博物館（莫內(nèi)歐，2008）以及巴特爾禮堂（塞爾加斯-卡諾，2011）；歷史遺產(chǎn)項(xiàng)目，如莫利內(nèi)特羅馬遺址上的裝置（阿曼-卡諾瓦斯-馬路里，2012），或是“海之城墻”大廈（馬丁·萊哈拉加，2010）——事實(shí)上它吞并了一座19 世紀(jì)的建筑，以及更為謙遜的蒂沃利大廈 （馬丁·萊哈拉加，2018），似乎在歷史建筑的再利用中出現(xiàn)了集體住宅領(lǐng)域中出現(xiàn)的私人化的倡議。今年，羅馬論壇博物館將在莫利內(nèi)特的考古遺址上揭幕。

在卡塔赫納的街道上參觀，可以看到這座城市仍然在努力提高城市住宅建筑的質(zhì)量，其主要挑戰(zhàn)是協(xié)調(diào)從羅馬時(shí)代到巴洛克時(shí)期再到現(xiàn)代主義時(shí)期之間非常不同的建筑風(fēng)格。在活躍的城市更新背景之下，城市歷史中心的大多數(shù)建筑都陷入了可怕的“立面主義”。

我們將分析這些項(xiàng)目，試圖對(duì)這一挑戰(zhàn)給出一個(gè)答案，而這一答案已經(jīng)不僅是單純的保留形式。它們共同呈現(xiàn)的視覺效果能讓我們從物理的和現(xiàn)象的角度來描繪“透明性”（我們找到了透明和半透明的元素，也找到了鏡面，還有在這些建筑和所處的城市肌理之間或?qū)嵭幕蚩瞻椎牟煌缑妫瑥亩軌蚶每ㄋ占{的歷史記憶，提出理解其復(fù)雜性的新方法。

兩座建筑對(duì)濱水區(qū)的再利用

城市的海濱是建于1872 年的阿方索十二世碼頭，地形從卡洛斯三世城墻開始向海傾斜。該市決定在此地開發(fā)新的公共空間，并以兩個(gè)專門用于文化用途的項(xiàng)目為模本：阿克瓦博物館和巴特爾禮堂。

為了尊重地塊坡面最大高度的限制并保持城市的視野，兩個(gè)項(xiàng)目都以向地下發(fā)展的方式進(jìn)行了擴(kuò)建，僅在地面露出不同的體量。露出部分的建筑并不試圖通過其形式喚起城市的記憶，而是分析和回應(yīng)場(chǎng)所的具體條件，并以遺產(chǎn)和場(chǎng)地處理的延續(xù)性為基礎(chǔ)。

我們看到兩個(gè)當(dāng)代風(fēng)格的新建筑群，它們?cè)噲D喚起人們對(duì)海洋城市，港口和文化交流熱潮的記憶，在這里，海洋和港口存在于建筑的透明性、反射和透視切面中。

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5 巴特爾禮堂，由塞爾加斯-卡諾設(shè)計(jì)/Batel Auditorium, Selgas-Cano

莫利內(nèi)特遺址

這個(gè)項(xiàng)目基本上是在莫利內(nèi)特公園考古遺址的羅馬遺跡上增建了一個(gè)平臺(tái)。覆蓋物與現(xiàn)有建筑的隔斷墻形成了新的城市立面，圍合了該區(qū)域并形成了一個(gè)城市地標(biāo)。這種干預(yù)將所有的遺跡統(tǒng)一在一個(gè)空間內(nèi)，使整個(gè)遺址獲得了連續(xù)感。

蓋板結(jié)構(gòu)為鋼結(jié)構(gòu)，其內(nèi)層采用半透明波紋狀多層聚碳酸酯板的模塊化系統(tǒng)，外層為穿孔鋼板，可調(diào)節(jié)光線的入射率，并統(tǒng)一外表面的外觀。該項(xiàng)目還加建了與街道平行的高架人行道——一個(gè)懸掛在鋼梁上的非常輕盈的結(jié)構(gòu)。其整體被設(shè)想成一個(gè)幾何結(jié)構(gòu)部分可見的多面體玻璃盒子，從而構(gòu)成了街道的立面，并提供了從3m 高的位置觀察廢墟的視角。這一干預(yù)將所有的遺跡統(tǒng)一在一個(gè)單一的空間里，使人們獲得對(duì)整體和外部的碎片化的連續(xù)感知，用適合城市環(huán)境的感知尺度來回應(yīng)城市和莫利內(nèi)特考古公園。

羅馬劇場(chǎng)博物館

這個(gè)項(xiàng)目是對(duì)“建筑漫步”i的詮釋，一條步道穿過不同的建筑，出其不意地將城市處于海平面的低部與位于較高處的劇院連接起來。它貫穿了由復(fù)雜的天窗系統(tǒng)照明的展覽空間，將博物館與城市風(fēng)光連接起來，反過來也為劇院挖掘中發(fā)現(xiàn)的遺跡提供了一個(gè)展示的框架。

莫尼歐設(shè)計(jì)的博物館由兩座不同的建筑組成，并由街道地下的走廊連接起來：第一座建筑包含了歷史悠久的里克爾梅大廈的外墻，圍繞著作為蓄水池的庭院布置。第二座建筑緊貼著奧多涅斯將軍街的住宅中間，這里有展覽廳和通往圣瑪麗亞-拉維哈老教堂地下室考古遺址的電梯，將游客引向劇院。

為此，該項(xiàng)目考慮了對(duì)劇院半圓形圍墻后的所有外部空間的改造和開發(fā)，以便從城市的不同角度欣賞劇院，與此同時(shí)，使城市本身成為紀(jì)念物的一個(gè)“場(chǎng)景”。此外，科爾尼斯公園及其景觀梯田的建成將康塞普西翁山的西側(cè)自然延伸到18 世紀(jì)的圣瑪麗亞-拉維哈教堂，將中世紀(jì)的康塞普西翁城堡遺址、大教堂和劇院連接了起來。

全景電梯

這一項(xiàng)目連接了小山和城市，解決了其間45m的高差，從而對(duì)19 世紀(jì)消失的連接卡塔赫納不同地區(qū)的老路線做出了現(xiàn)代的回應(yīng)。它旨在通過建立一個(gè)連接來激活小山和其中的內(nèi)戰(zhàn)避難所，將其展示給公眾，并呈現(xiàn)一個(gè)完整的城市形象。這個(gè)連接是通過一部幾何結(jié)構(gòu)的全景式電梯來實(shí)現(xiàn)的，它的入口連接采用了與莫利內(nèi)特遺址的玻璃結(jié)構(gòu)相同的“透明-反射”手法，讓人們?cè)谙蛏缴弦苿?dòng)的同時(shí)，還能看到建在古羅馬圓形劇場(chǎng)上的斗牛場(chǎng)的遺跡。該項(xiàng)目回應(yīng)了（城市更新）運(yùn)動(dòng)所提出的要求，也是對(duì)如何鞏固這一區(qū)域的一種探索。

住宅建筑

卡塔赫納市政府對(duì)用當(dāng)代建筑來振興城市的決心，在住宅建筑方面也有其發(fā)展，比如提議用現(xiàn)代建筑的語言包圍、加諸或者掩飾既有的住宅建筑，或者將其簡化為簡潔的樣式。然而，在這樣的案例中，我們所談到有關(guān)透明性和滲透性的樂趣，大多喪失了，我們不難看到將當(dāng)下與歷史記憶相結(jié)合的困難之處。

通過關(guān)注過去幾年在卡塔赫納進(jìn)行的項(xiàng)目，我們可以對(duì)當(dāng)代建筑如何處理城市的歷史記憶進(jìn)行反思。其中的許多項(xiàng)目都被用作打通不同街區(qū)之間的連接路線的契機(jī)，它們將基于既有建筑和城市記憶的操作作為一種開發(fā)工具。它們致力于不同的城市滲透策略，試圖擺脫單純的地標(biāo)性建筑的創(chuàng)造，因其只是將城市記憶作為裝飾的或形式的元素進(jìn)行再利用。這些項(xiàng)目的核心意向是提倡“縫合”。我們看到了城市修復(fù)中創(chuàng)造性的連接策略，它們展現(xiàn)出了意象的共存，并修復(fù)和美化了若干城市區(qū)域和最具有象征意義的考古遺跡和場(chǎng)所。

譯注/Note from the translator

i“建筑漫步”（Promenade Architecture）是勒·柯布西耶新建筑探索的重要內(nèi)容，他認(rèn)為現(xiàn)代建筑的主要特點(diǎn)之一是“漫步”，即可以被通過，被游歷，只有能“漫步”的建筑才能稱之為好的、優(yōu)秀的建筑。

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Cartagena is a Spanish city, located on the coast of the Mediterranean Sea. It has a complex orography developed over five hills, with a population out of 215,000 inhabitants. Its origins are Carthaginians, it was the capital of the province during Roman age and after the disappearance of the Roman Empire, Cartagena, was part of the Byzantine domains in the Iberian Peninsula, of which it was one of its most important cities and perhaps its capital, being destroyed after its capture by the Visigoths.

During the first decades of the 2000s the city has been transformed through different actions that have been based on the recovery and enhancement of its historical past through interventions of different nature: important public buildings, such as the National Underwater Archaeology Museum (Vázquez Consuegra 2008), the Museum of the Roman Theatre of Cartagena (Moneo 2008) or the Batel auditorium (Selgas-Cano 2011), projects on historical heritage as the deck over the roman ruins site of el Molinete (Amann-Canovas-Maruri 2012) that seem to have given rise to private initiatives in the field of collective housing that see in the reuse of historical architectures, with projects like the Building Muralla del Mar (Martín Lejarraga 2010), that literally engulfs a 19th century building, or the more respectful project of the Building Tivoli (Martín Lejarraga 2018) an opportunity of development of the historical city. This year the museum of the Roman forum will be inaugurated in the archaeological site of the Molinete.

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A tour of the streets of Cartagena shows how the city is still making great efforts to improve the quality of the residential architecture of the city, whose main architectural challenge is to reconcile its very different architectures, from the roman times, passing through baroque to contemporary architectures, in a context of active urban regeneration, in which most of the performances in the historic centre of the city are falling into the dreaded "fa?adism".

The projects we are analysing have tried to give an answer to this challenge that goes beyond the mere formal conservation. The vision of all of them together allows to delineate how the transparency, both literal and phenomenological (we found transparent and translucid elements, but also mirrors and different plays with full and empty planes, used between these buildings and the urban structure) allows to use the historical memory of Cartagena's past to propose new ways of

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6-8 莫利內(nèi)特羅馬遺址露天平臺(tái)，由阿曼-卡諾瓦斯-馬路里設(shè)計(jì)/Molinete Deck, Amann-Canovas-Maruri understanding its complexity.

Two Buildings for Re-Use the Waterfront

The waterfront of the city is the quay of Alfonso XII, a terrain gained to the sea built in 1872 in front of the walls of Carlos III where the city decided to create new public spaces that have been modelled by two projects dedicated to cultural uses: the Aqva Museum and the Batel Auditorium.

Both projects, in order to respect the limitation of the maximum height on the slope of the plot, and to maintain the views from the city, develop its extensive programmes in a hypogeal way, emerging to the surface through different volumes. Those emerging buildings do not try to evoke the memory of the city through its form, its relationship with the memory is to analyse and responds to the specific conditions of the place, and feeds on the heritage - the continuity - of a site's treatment.

We are faced with two new complexes of contemporary style that nevertheless try to evoke the memory of a seaside city, with a port, fervour for the exchange of cultures, in which the sea and the port are present through its transparencies, its ref lections and the perspective cuts.

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9-12 羅馬劇院博物館，由莫內(nèi)歐設(shè)計(jì)/Roman Theatre Museum, Moneo

El Molinete

This project develops basically a deck over the Roman remains in the archaeological site of the Molinete Park. The cover generates a new urban fa?ade with the partition wall of an existing building that limits the area and constitutes an urban landmark. This intervention unif ies all the remains in a single space, allowing a continuous perception of the whole site.

The cover structure is made of a steel structure whose inner layer is built with a modular system of corrugated multiwall translucent polycarbonate sheets and the outer layer is made of perforated steel plates that qualif ies the incidence of light and gives a uniform exterior appearance. The project proposes also an elevated walkway parallel to the street. It is a very light structure hanging from the steel beams. The whole is conceived as a glass box, with a faceted, partially visible geometry, it builds the street fa?ade and allows a view of the ruins from three metres height. The intervention unif ies all the remains in a single space that allows a continuous perception of whole, and fragmented outside, to respond with a perceptual scale appropriate to the urban environment, both the city and the Molinete Archaeological Park.

Roman Theatre Museum

This project is an interpretation of the architectonic promenade developed through different buildings, allowing an unexpected connection from the lower part of the city, at the sea level, to the theatre, located at a rather higher level. This walk runs through exhibition spaces illuminated by a complex system of skylights that connects the museum with the views of the city and vice versa, providing a framework for the presentation of the pieces found in the excavations of the theatre.

The museum designed by Moneo is developed into two different buildings, linked by a corridor arranged under the street: the first, which incorporates the fa?ade of the historical Riquelme building, is organised around a courtyard as an impluvium. The second building, nestled between the medians of the General Ordo?ez Street residential house, holds the exhibition halls and the lifts to the archaeological crypt beneath the Old Cathedral of Santa María la Vieja, which lead visitors to the theatre.

To this end the project considers the adaptation and development of all external spaces behind the perimetre wall of the theatre, allowing the city to see the theatre from different perspectives and, on the other hand, using the city itself like a scenae for the monument. Also, the realisation of the Cornice Park with its landscaped terraces is the natural extension to the west of the hill of Cerro de la Concepción to the eighteenth century chapels of the Santa María la Vieja, establishing a link between the medieval remains of the ruins of the former Castle of la Concepción, the Cathedral and the theatre.

Panoramic Lift

This is a connecting project between the hill and the city, saving 45 metres of height difference that tries to give a contemporary response to the disappearance in the XIX century of an old route that connected those parts of Cartagena. Its purpose is to establish a link that actives the hill and the Civil War Shelters that are inside it to make them visible to the public and give a complete urban image. This connection is possible by a panoramic lift of a geometric structure that has a connection gateway where the same principle of transparencyreflection with the city of the Molinete glass structure is applied, allowing to contemplate the remains of the bullring built on the ancient Roman amphitheatre while moving towards the hill. The Project is an answer to the movement requirements and an exploration of how to act to consolidate this piece of city

Residential Architecture

The commitment of the municipality of Cartagena for contemporary architecture as a way of revitalising the city has also had its development in residential architecture with proposals that surround, increase or disguise it with a contemporary language over the preexisting buildings, sometimes reducing it to a simple pattern. However, in these cases, the game of transparency and permeability that we have talked about, is mostly lost, which shows us the difficulty of combining the contemporary with historical memory without imposing ourselves on it

Directing our attention to the projects carried out in Cartagena during the last years allows us to reflect about how contemporary architecture could deal with the historical memory of the city. Many of these projects have been used as opportunities to open connecting routes between different neighbourhoods, using the project over the pre-existence, over the city's memory, as a development tool. They work on different urban permeability strategies that try to overcome the mere creation of landmarks that reuse the memory of the city as a decorative or formal element. Their core intention is the proposal of "sewing". We face inventive connection strategies of urban recovery performing the co-presence of its image, recovering and enhancing several city districts and the most emblematic of its archaeological heritage monuments and places.

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13 全景電梯，由萊哈拉加與阿曼-卡諾瓦斯-馬路里設(shè)計(jì)/Panoramic Lift, Lejarraga-Amann-Canovas Maruri

14 海之城墻大廈，由萊哈拉加設(shè)計(jì)；全景電梯，由萊哈拉加與阿曼-卡諾瓦斯-馬路里設(shè)計(jì)/Muralla del Mar, Lejarraga and Panoramic Lift, Lejarraga-Amann-Canovas Maruri

15 帝沃利大廈，由萊哈拉加設(shè)計(jì)/Buidling Tivoli, Lejarraga