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1 乌拉圭, 里维拉, 里维拉酒店与赌场综合建筑 / Gualano + Gualano Arquitectos 建筑师 :Gualano & Gualano ArquitectosMarcelo Gualano / Martín Gualano 地点 : 乌拉圭里维拉合作者 :Aida Aguirre, Carolina Algorta, Ignacio De Souza, JoaquínMascheroni, Elena Pi, Carina Strata, Andrés Varela 建筑面积 :13,000 sqm 项目年份 : 摄影 :Marcos Mendizabal, José Pampín

3 建筑地点里维拉位于蒙得维的亚以北 500 公里处, 坐落在内格拉和圣安娜丘陵地带的交界处它与巴西城市圣安娜利夫拉门图融合在一起, 共享一个陆地边界 : 那就是一条街道和一座广场国际广场, 它们将这两座城市分隔开来在这座城市中, 两个国家之间因为毫无领土界限, 因而彼此的社会融合也非常普遍, 人们可以从一个城市自由地穿到另一个城市

4 项目建筑师针对这座新建的里维拉酒店与赌场综合建筑提出了一个三步走的设计方案 : 1. 重建赌场的原有建筑 2. 将里约热内卢市立剧院融入这栋新建的综合建筑范围之内 3. 在建筑地点内打造一家全新的四星级酒店, 横穿乌拉圭街道这栋综合建筑试图通过建立一座娱乐中心从而在里维拉市形成一个全新的亮点, 同时重新利用古老的赌场建筑以及里约热内卢市立剧院从地理位置上来说, 建造地点正好位于乌拉圭和巴西的交界位置, 就旅游和商业的吸引力来讲该位置极具战略意义另外, 该建筑位于 Cerro del Marco 山脚下 Treinta y TresOrientales 大道的顶点位置处, 可以眺望到远方的景色至于对经过精心设计的二十世纪早期建筑古老赌场建筑的干预设计方案, 该项目提出要保护并恢复其价值, 以此来牢牢把握住其城市的历史在此期间这栋赌场建筑拥有了新内涵, 并与里维拉酒店连接在一起, 后者的建筑风格更具当代性该项目改变了原有的基础, 形成了一个新的入口平台这解决了为赌场设计两个入口的难题 : 位于乌拉圭大街的入口能够直达博彩大厅的赌桌而另一个位于 Treinta y TresOrientales 大街上的入口, 标示出大屋檐下古老入口的位置, 形成了进入赌场和里约热内卢市立剧院的双重入口, 建筑师也将原有立面进行了翻新, 以便于与新的综合建筑环接在一起

5 , 并与整个构造相统一这栋建筑利用一座桥与里维拉酒店相连, 这座桥将贵宾室 ( 位于赌场建筑的最高层 ) 与免税店早餐厅/ 游泳池连接在一起, 连接处的结构轻盈透明它将两座分属于不同时代的不同类型建筑连接在了一起人们能够通过自动扶梯系统从酒店向下抵达赌场, 自动扶梯可以引领我们抵达这栋古老建筑的不同区域

6 里维拉酒店建筑融入了当代风格, 这与当下的酒店设计风格更加完美地融合在一起因此这种正式的设计主张产生了两种截然不同的观点一种观点从远景角度出发, 通过在东西纵向上容纳房间的高层建筑呈现出来, 这样可以形成一个长长的立面, 有着良好的可见度另一种观点是建造一座低层建筑, 占据整个建筑地点, 这样便可以容纳这个项目的其余部分 : 大堂会议中心餐厅以及游泳池等低层建筑是透明的, 这样这座建筑就可以向外部呈现出开放式景观, 减少了私密空间整个项目所使用的材料具有两种不同的解释 : 一种解释认为材料质地更加坚硬, 而另一种解释则认为运用的材料更轻更软更透气一方面使用现场预制的混凝土和裸露混凝土作为建造不透明度的材料, 以及构造边界和紧凑边缘的材料, 可以让人们直抵酒店和赌场的不同楼层另一方面, 使用玻璃和金属栅板形成了更轻盈的边界, 与开放式的空间同外界相关的活动紧密相连建筑师提出, 这栋建筑要建造出不同的规模, 让用户工作于其中乐趣无穷 ; 当人们从远处眺望时, 遮阳系统和主要幕墙 ( 位于大厅 / 酒店餐厅的位置 ) 能够呈现出均匀的表面, 建筑师试图将其扩展至整个立面, 从而形成材料连续的平面

7 因此, 从地面一层到三层栏杆处的玻璃采取了单片的形式, 通过打造立面的错位感从而将其与另一个遮阳平面分离开来, 这样在立面上形成了一个接合处两个平面, 一个是棕色金属质感的, 一个是绿色反光的面向赌场的一侧, 暴露在外的混凝土为新建筑的融入奠定了基础, 借用了面向乌拉圭街道一侧的入口和服务区域的延伸地带总之, 整个项目在规模上在每一个角度上都为事务所呈现出了一种变化

原文 : Architects: <a href="http://www.gualano.com.

Algorta, Ignacio De Souza, JoaquínMascheroni,

28 原文 : Architects: <a href=" & Gualano Arquitectos</a> Marcelo Gualano / Martín Gualano Location: Rivera, Uruguay Collaborators: Aida Aguirre, Carolina Algorta, Ignacio De Souza, JoaquínMascheroni, Elena Pi, Carina Strata,Andrés Varela Built Area: 13,000 sqm

29 Project Year: Photographs: <a href=" Mendizabal</a>, José Pampín The site The city of Rivera, 500km north of Montevideo, is located at the junction of the CuchillaNegra and the Cuchilla de Santa Ana. It conurbates with the Brazilian city of Santana do Livramento while sharing a land border: only a street and a square, Plaza Internacional, separate the two. In this city, the social integration between two countries that share no territorial limits is the prevailing aspect, as people are able to cross freely from one city to the other. The project The project of the new Rivera Hotel and Casino complex proposes a three-tiered intervention: 1 / To reactivate the old building of the casino 2 / To incorporate the Teatro Municipal (Municipal Theater) to the new complex 3 / To build a new four-star Hotel in the site located across Uruguay street. The building complex attempts to configure a new pole in the city of Rivera through an Entertainment Center, by repurposing the old casino and Municipal Theater. In geographical terms, the site is located exactly over the borderline between Uruguay and Brazil, a strategic location in terms of both tourist and commercial appeal. In addition, standing at the height of Treinta y TresOrientales Avenue, next to Cerro del Marco, the building gains visibility from a distance. Regarding the intervention on the building of the old casino a well-crafted, early XXth-century building the project proposes to protect and restore its value, to take hold of its urban history. It is then that the building acquires new meaning and articulates with the Hotel, the latter much more contemporary in nature. The project alters its base, generating a new access platform. This resolves the two entrances to the Casino: the one on Uruguay Street gives access to the tables of the gaming hall. The other, on Treinta y TresOrientales Avenue, marks the old entrance under a large eave and constitutes the double access to the Casino and the Teatro Municipal, which refreshes its facade in order to articulate with the new complex, giving unity to the composition. The building connects to the Hotel through a bridge which links the level of the VIP rooms (located on the last storey of the Casino building), with the level of the Duty Free Shop and Breakfast lounge/pool, a connection which is light and transparent a bond between two distinct types of architecture belonging to

30 different times. From the Hotel we descend to the Casino through a system of escalators which lands us at the different stages of the old building. The type of architecture of the Hotel building deals in contemporary codes which are more in tune with current hospitality trends. It is thus that the formal proposition generates two distinct points of view. One is linked to a far-off perspective, represented by the high-rise block containing the rooms in the longitudinal east-west direction, generating a long facade with great visibility. The other, a low insertion occupying the entire site, houses the remaining aspects of the program: lobby, convention center, restaurants, pool, etc. The low-rise block is transparent, allowing the building to open up to the exterior, making public its less private spaces. The materials used throughout the project invite to two different interpretations: one which is harder while the other is lighter, softer, more permeable. On the one hand, the use of on-site pre-cast concrete and exposed concrete, as the material which structures the opacities and definitions of tectonic borders, of tense edges which give access to the different levels of both the hotel and the casino. On the other, lighter limits such as those provided by the use of glass and metal gratings, connect with the act of opening up and relating to the outside. It was interesting to work on the different scales the building proposes; both the sun-shade system as well as the main curtain-wall (where the lobby/hotel restaurant are located), offer a homogeneous surface when looked upon from a distance, attempting to give scale to the entire facade and generating planes of material continuity. Therefore, glass takes the form from ground level up to the railing on the third level of a single piece separated from the other plane of sunshading by means of a dislocation of the facade which forms a joint at the scale of the facade. Two planes, one brown and metallic, another green and reflective. Towards the side of the Casino, the exposed concrete gives way to the infiltrations of that new architecture which takes over the entrances and the extension of the service area facing Uruguay Street. All in all, the project proposes a change in scale for the studio, at every scale.

122 Projects Domus China 104 December 2015 建筑并不属于个人 / ARCHITECTURE DOES NOT BELONG TO INDIVIDUALS 法国 AS 建筑工作室将建筑和城市规划定义为 : 与社

122 Projects Domus China 104 December 2015 建筑并不属于个人 / ARCHITECTURE DOES NOT BELONG TO INDIVIDUALS 法国 AS 建筑工作室将建筑和城市规划定义为 : 与社会密切关联的艺术, 同时也是建设人类生活的构架, 而这一切