巴洛克國際博物館

項目地址：墨西哥，普埃布拉

施工開始時間：2014年9月開館時間：2016年2月4日

用地面積：5公頃，位于城市公園內

建筑面積： 18 149m2

建筑師：伊東豐雄及合伙人事務所

當?shù)亟ㄖ煟篎ederico Bautista Alonso

結構工程師：SAPS (Mutsuro Sasaki, Toshiaki Kimura),

SC3 (Ing. Ernesto Lira)

景觀設計：Tada Arquitectos (Antonio Cesar López Willars)

家具設計：Fujie Kazuko工作室

普埃布拉是墨西哥第四大城市，擁有常住人口2 850 000人，聯(lián)合國教科文組織于1987年將其列為世界文化遺產(chǎn)，而墨西哥巴洛克國際博物館（MIB）正位于這樣一座歷史文化名城。巴洛克藝術被譽為首個風行全球的藝術形式，巴洛克國際博物館將向全世界展示該藝術。

用一言半語去定義巴洛克藝術并非易事。從藝術史角度來看，巴洛克藝術是一種試圖打破文藝復興時期教條的藝術風格，同時也是一種集宗教、思想及政治為一體的反宗教改革運動。從地理學角度來看，巴洛克藝術因大航海時代的到來而得以傳遍世界，而從社會層面而言，巴洛克藝術更是一種資產(chǎn)階級與平民共享的藝術。巴洛克藝術涵蓋如繪畫、雕塑、建筑、音樂、戲劇、文學、美食、時尚等所有藝術領域，是一種由情感驅動的藝術，因而人們難以從理論或理性角度理解巴洛克藝術，唯有親身感受才能體會個中真意。

綜上所述，我們?yōu)椴┪镳^設計制定以下三條指導原則：

1.“剛中帶柔，賦予剛性空間流動感”

一直以來城市與當代建筑都與自然脫離，人們企圖通過設立屏障和隔絕外部環(huán)境達到控制內部環(huán)境的目的。在建筑人本論的指導下，建筑具有嚴格的功能分區(qū)。巴洛克運動打破了文藝復興時期以人類為宇宙中心這一觀點，進一步探討上帝與人的關系，慮及此，不難發(fā)現(xiàn)現(xiàn)今我們生活的時代也出現(xiàn)同樣的趨勢：尋求人與自然的關系。這將是本世紀最重要的議題。在巴洛克國際博物館的設計中，我們力圖打破及消融冰冷生硬的分界，創(chuàng)造出流動性空間。我們希望人們穿行于不同房間時也能體驗到巴洛克式空間。

2. “美麗的光線”

在巴洛克藝術中，光線象征神的啟示，與內心的矛盾陰暗面抗爭。在該項目中，光線同樣具有特殊的意義。乍一看，建筑的平面如同迷宮一般，實則每間房間都通過圓頂天窗與下一間房間相連，猶如一串念珠。游客可跟隨光線的指引到達下一間房間，而不會迷路。射入各采光井的光線量因房間的需求而異。游客也可以感受到從天空中灑落的光，仿佛人正在與自然對話。

3.“生態(tài)機制與環(huán)境保護”

博物館位于San Andrés de Cholula和普埃布拉市郊區(qū)的大都會公園中。該公園北面是巴洛克國際博物館，南面是阿托亞克河。Malinche山的雨水注入阿托亞克河。大都會公園于2012年開放，園內設有多個以人與自然共生為主題的項目。例如凈化阿托亞克河的實驗性生物系統(tǒng)，種植從植物非法走私中查獲的仙人掌。市民可在漫步公園的同時加深對環(huán)境的理解。我們希望在博物館中創(chuàng)造類似的人與自然關系。博物館引入采光井和流動空間的設計理念不僅體現(xiàn)巴洛克藝術，而且強調人與自然的對話，技術手段的運用令這一特點更為突出。普埃布拉全年氣候穩(wěn)定，憑借這一優(yōu)勢，博物館采用利用外部空氣（自然冷卻）的方式減少能源負荷。在被水泥高墻包圍的建筑中為博物館設計若干大小適宜的通風口。為建立巴洛克國際博物館與大都會公園之間的視覺聯(lián)系，入口附近的湖面被設計為一片淺淺的水景，延伸至公園內部則成為一汪天然池塘。我們希望后者周圍能長滿自然生長的水生植被 。此外，建筑能夠收集污水和雨水，在經(jīng)過凈化處理后形成循環(huán)，先注入淺水區(qū)及天然池塘，進而注入阿托亞克河，有助于河水凈化。

從概念上講，我們希望巴洛克國際博物館如泉水般從地面漸漸涌出成型。

Museo Internacional del Barroco (MIB) is located in the city of Puebla, the fourth largest city in Mexico (2 850 000 inhabitants), and it is listed as a World Heritage Site by Unesco in 1987.This museum will introduce Baroque Art on a global level, which was considered the fi rst style of art that was spread internationally.

It is very diきcult to de fi ne Baroque Art with a single word. In terms of history of art, it is a style that wanted to break the strict rules imposed by Renaissance; it also emerged as a Counter-Reformation that combined religious, intellectual and political movements. In terms of geography, Baroque Art spread internationally due to the Age of Discovery; while socially it was developed to be enjoyed by both the bourgeoisie and the commoners. Baroque Art encompasses all the arts: painting, sculpture, architecture, music, theatre, literature, cuisine,fashion, etc; it is an art driven by sentiment. Therefore, it is very diきcult to be understood in a theoretical or rational manner; to the extent that it is a feeling that must be experienced.

Thinking about all this, we set three guidelines for the design of the museum:

1. “Starting with a rigid order, this can be dissolved creating an out fl ow. The resulting space gives the impression of fl uidity”

Cities and contemporary architecture has been turning away from nature and attempting to control the inside by putting up barriers and driving out the exterior. This anthropocentric philosophy in architecture results in a functional grid. If we consider the Baroque movement, which broke the Renaissance vision of man as the centre of the universe, and moved on to a relationship between God and man, a similar trend is now produced in the era we live in: the search for the relationship of people with nature. This search will be one of the most important issues of this century. In the MIB we try to break and dissolve the cold and rigid order to achieve fl uid spaces. We hope that when people move from one room to another, they experience a Baroque space.

2. “Beautiful Light”

In Baroque art light symbolizes a revelation from God opposing the darkness of ambivalence. In this project, light also acquires a special meaning. In plan which at fi rst glance looks like a maze, we see that each room is connected to the next by a light dome that joins them like rosary beads. The visitors can follow the light stream and into the next room without losing their way. The amount of light entering each patio varies according to the requirements for the adjacent rooms. Visitors can experience the light that literally falls from the sky, as if a dialogue between man and nature is taking place.

3. “Ecological mechanism and care of the environment”

The site of the museum is in the Metropolitan Park, on the outskirts of the municipalities of San Andrés de Cholula and Puebla. This park is bound by MIB on the North, and the Atoyac River on the south,which collects rainwater coming from the Malinche Mountain. Opened in 2012, the park has devised programs that focused on interactions between human and nature. For example experimental biological systems that purifies the Atoyac River, and the planting of Cacti that were seized in illegal plant traきcking. Citizens can wander around this pleasant park while deepening their understanding of the environment. We want to create a similar relationship to nature in the museum. The idea of a museum with light wells and fl uid spaces that exhibit Baroque art, emphasizing the dialogue between nature and man is complemented by a technological proposal. Puebla has a virtually constant climate throughout the seasons. Taking advantage of this, the museum uses a system that utilises outside air (free-cooling)to reduce energy load. In a building surrounded by tall concrete walls optimum sized openings were designed for the museum.

To create a transition between the MIB and the Metropolitan Park, the lake is designed as a shallow fi lm of water in areas near the entrance, and as a natural pond the further we advance into the park. In the latter area we anticipate a natural growth of aquatic vegetation around the edges of the lake. Moreover,the building collects sewage and rainwater, and once it is treated and passed through a cleaning process, it forms a circuit that feeds into the shallow fi lm of water and the natural pond and from there on to the Atoyac River, contributing to its cleansing.

Conceptually we want the building to “sprout from the earth like spring water and grow.”